Cowboy Dances

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Cowboy
ffiatices

Cowboy

Collection of
'Western
Square
Dances

h

Lloyd Shaw

With a Foreword by
Sherwood Anderson

Appendix Cowboy Dance Tunes

arranged by
Frederick Knorr

Revised Edition

The CAXTON PRINTERS, Ltd.

Caldwell, Idaho

1950

First printing July, 1939

Second printing April, 1940

Third printing December, 1940

Fourth printing April, 1941
Fifth printing December, 1941
Sixth printing, October, 1943
Seventh printing August, 1945
Eighth printing October, 1946
Ninth printing January, 1948
Tenth printing October, 1948
Eleventh printing May, 1949
Twelfth printing January, 1950

COPYBIGHT 19894949 BY
THE CAXTON PRINTEBS, I/TO.
DWBLU IDAHO

Dorothy

m^ ; -
"first lady"

3
V-

Foreword

DEAR LLOYD SHAW

I AM a little afraid that anything I could write for the
book would have to be, perhaps too much, the result of
a very passing impression. I came up there out of low
country. It was a day of sharp and rather glorified impres
sions, the great hills, some snow clad, deep gulches, great
sense of space. I was rather breathless with wonder.

I came to see your dancers, and they seemed to me very
real and very much a part of America. There was a kind
of rough grace,, sincerity, feeling of fun, joy in living. We
have had so much, in our romantic literature, of the cow
boy, shooting up towns, saving fair virgins, being always
so faultlessly noble under a rough exterior that I was very
thankful to see something of a more authentic old western
life brought back in these dances.

I think there was something the feeling of an early
America and its joy in a huge new land, something really
virginal, joyous, good. I felt real play spirit. I wanted to
stay, take it in, soak it in, see more and more of it.

I think indeed that you have done something very real.
The feeling of fun, some joy in living, is too much gone out
of most of us. You seem to be keeping it alive in these
dances, and if this passing impression of mine is of any
value to you, you have certainly my permission to use it.

Very sincerely,

SHERWOOD ANDERSON

Marion, Virginia

A c know ledgments

IN A COMPILATION such as this, where so many have
helped, even when they did not know that they were
helping, it is almost impossible to render the thanks that are
due. There are the fine groups of old-timers who have taken
me in and let me dance with them and have answered all the
"greenhorn" questions I could ask. There are the different
dancers and callers whom I have met only casually, but
many of whom have dropped a phrase or an idea that I
have laid hold upon. To all of them my heartiest thanks !

Many of the calls are such common property that it
would be impossible to assign them to any given caller ; but
of the many callers I have known I want to give special
thanks to Guy Parker, Emerson Howard, W, S. Uhls, A. E,
Christensen, Theiron Gilbert, and Clarence McComb. None
of them, however, can be held responsible for any errors
that may have crept into the book. Just a few days ago
one of them said to me, "Well, professor, you don't call 'em
the way I do. But that's all right with me, if you're satis
fied." Alas, I am not. I owe much to the fiddlers, also,
"E. G.," Nick, Fred, Smokey, and Dad; and to Harriett
Johnson my accompanist who has so often and so pa
tiently helped me "work out a new find."

One of the most difficult parts of preparing the book
has been to secure photographs of the actual dances that
would adequately show the action of each figure. Loyde E.
Knuteon has taken well over five hundred pictures from
which I might choose my illustrations. For these fine pic
tures and for his splendid co-operation I acknowledge a
special debt of gratitude.

In the specific preparation of the book I wish to express
appreciation to Henry Ford for permission to adapt the

8 ACKNOWLEDGMENTS

Sing-ing Quadrille from one of his publications and to John
A. Lomax to use James Barton Adams' delightful poem,
"At a Cowboy Dance/' from Songs of the Cattle Trail and
Cow Camps. Also I wish to give my special thanks to Jack
Allison for the pictures taken at Central City. And thanks
to Lefty Hays and to Doli Shaw, my daughter, for the
diagrams, and to Marshall Morin for lettering them, and
to Dub Smith, my "strummer," for the little music scores.
Lastly, to my wife and daughter more than thanks for so
carefully going over and over the manuscript for me, and
for having so patiently listened while I talked and talked
and talked.

L. S.

Preface

Tj^OR MANY YEARS a group of young people at the
-F Cheyenne Mountain High School has been working in
the field of the European folk dance under my direction.
They have been called upon to give exhibitions of those de
lightful peasant dances before all sorts of audiences and
in widely separated places.

As we went ahead, demonstrating these folk dances of
Europe, we became more acutely aware of the fact that
there was, all about us, an old American folk tradition of
purely Western dancing that we should explore. Already
we were using the New England Quadrilles, New England
Circle Dances, such as Soldiers Joy or the Cicillian Circle,
many of the line dances or contra dances, such as Money
Musk, Pop Goes the Weazel, Speed the Plough, and others.
But we could not seem to get hold of the purely Western
square dances that our cowboys had enjoyed on the ranches
and in the cow towns of the West.

We could find no printed instructions or calls in spite
of diligent searching; and our experiences with old-time
callers were most discouraging. There was nothing we
could get our hands on. At last a rancher down below
Cheyenne Mountain, who had been a cowboy in his early
days and had since called many an old-time dance, came
to me and asked if I could furnish one set (four couples)
of my dancers to join with a set of his young people in a
square-dance contest that he was entering. It was just the
start we needed.

Guy Parker was not only a "caller," but also something
of an artist and poet in his own right. He understood my
young folks, and it was- no time at all until we were in the
full swing of his dances. We refused our share of the prize

10 PREFACE

money that we had helped him win in the contest, so in
order to pay us back he insisted on coming to the school
and teaching us all the old dances he could remember.

Once started, it was easy. To our surprise we found
there were little groups of old-timers who got together reg
ularly for the old-fashioned dances, out on the plains, up
in the mountains, even in the city itself. They most gen
erously welcomed us to their dances. By writing down calls
on old envelopes or scraps of paper, I soon found quite a
collection accumulating. One thing leading to another soon
brought me into contact with many fine old callers. I could
swap some of my variations for some of theirs. And they
generously gave me of their store.

I soon found myself on the trail of the old square dance,
wherever I went in the West. It was a mild sort of research
in Western Americana and proved most delightful.

Now, instead of merely demonstrating these fine old
dances, we found ourselves being asked to teach groups
how to dance : high school, college, adult groups, all finding
it a most contagious sort of fun.

Gradually we perfected a technique by which we could
soon get any group quickly through that trying period of
"initial diffuse movements/' and before the evening was
half over they would all be dancing with a reckless abandon,
and near enough correctly to make the evening a hilarious
success.

But, of course, they could not carry on by themselves.
Closely directed, they could dance. But without help it all
slipped out of mind and was lost. I tried to have some of the
old-time callers help them, but it would not work. In the
first place, they were not teachers and did not quite know
what to do with a bunch of "plumb greenhorns." In the
second place, so many of the old-fashioned callers use a
sort of running doggerel, mostly rhythm, that is often
hardly recognizable as words. Only to the experienced do
their inflections mean anything, and to them it is the inflec
tion rather than the unrecognizable word that directs them
through the figures. With beginners, most of these callers
proved more of a confusion than a help.

After much inquiry and patient searching I was able to
find only one little pamphlet of directions and calls, and it
was difficult to get hold of. Dozens and dozens of leads were
given me, but whenever I ran them down they were "call

PREFACE 11

books" of New England Quadrilles and not the cowboy
dances that I was seeking.

It seemed to me that if the groups we had started were
to carry on, they would have to have a manual, not only of
directions and calls, but a book that could lead any group
of beginners through the first confusing stages of the dance.

In the summer of 1936 I was invited to bring a set of my
dancers to the famous play festival at Central City as an
experiment in early-day fun. The dances caught like fire.
In the old dining room of the famous Teller House we held
forth and we found young society folk, actors from the cur
rent play, visiting artists, celebrities, everyone dancing" with
us. For the next two summers we took over the old William's
Livery Stable at Central City and danced every day for the
two or three weeks of the festival. With these shifting
crowds we had to refine our technique so that they could
catch on quickly. This experience convinced me that any
group could start out alone if simple progressive directions
and a manual of the simpler calls were available. This
little book is the outgrowth of that conviction.

I hope that later I may be able to assemble a more com
plete book of calls, with all the variations and all the more
intricate changes added. I have nearly a hundred dances
now in my own notebook and I am convinced there are more
than twice that many extant. I would very much appreciate
it if anyone having other calls or variations of calls would
be good enough to write them down and send them to me.
Perhaps then we could get them all collected in one volume.
And credit, of course, will be given in the proposed book to
each contributor who sends in a new call.

Such a book would of course be a reference book of calls,
with definitions of terms used, and instructions properly
and logically and somewhat coldly arranged.

But this present volume is no such thing. It proposes
to be a very personal, chatty sort of manual. I wish to write
it as if I were standing at your elbow and helping you with
your first dance. It is not primarily intended for those
groups that are already successfully organized with a
caller and plenty of calls of their own, and already dancing
well. Of course, if they should chance upon the book and
find anything of value in it for themselves, I should be very
glad. But this book is intended for beginners, who are
beginning at the very beginning. And it hopes to give them

12 PREFACE

enough help to carry them into a new realm of most
delightful fun.

In many different places I have seen groups of beginners
trying to do these old dances. Without an experienced
caller, without authentic calls, without much of an idea of
the form of the old dances, they try to make up for their
lack with a boundless enthusiasm. They need help. The
time seems ripe for a revival. Seeing these old dances take
hold so contagiously makes me hope that they may spread to
hundreds of groups all over the country who are eager for
good, wholesome, social fun.

But besides the dancers and the young of heart who wish
to "shake a wicked hoof" around a square, I have found an
increasing number of people who are interested in the old
dances for their historic and literary significance. They are
a living bit of the colorful days of the Old West. Beaten
out by hand in the crude forge room of necessity, they are
an authentic witness of the life of our fathers. Perforce the
work of amateurs, of pioneer spirits, they were fashioned
from old fragments of dances that had been carried by ox
team from many lands. Each phrase of their apparently
meaningless chatter appears to have a significance and a
history that makes it fascinating to the student of words or
of peoples.

I have had letters from many writers and students about
the dances, and a book might be written for them alone. But
it would lose its flavor. The dances would be like dead ants
preserved in the amber of the past. We want them stingingly
alive and danceable. We want them as real as the varmints
the cowboys sang about

"The sand burrs prevail
And so do the ants
And those who sit down
Need half -soles on their pants."

Unless you are half-souled, don't sit down with them in
your study chair. Get a group of friends together and dance
them. Then their literary significance and their full flavor
will be yours.

Coombe-Corrie
January, 1939

r

V

Table

of
Contents

FOREWORD 7

ACKNOWLEDGMENTS 9

PREFACE 11

PART I THE DANCES
At a Cowboy Dance, poem 23

Chapter 1

WE TALK IT OVER 25

The Probable Origins of the Dances 25

The New England Quadrille 27

The Kentucky Running Set 29

The Tide Comes Back 31

The Music 33

Chapter 2

THE FIRST DANCE 38

The Caller 38

Circle Two-step 42

The Steps 45

The Two-step 46

Allemande Left and Grand Right and Left 47

Variations 53

Chapter 3

A SIMPLE SQUARE 56

The Positions 57

The Introduction 58

Fdrm a Star with the Right Hand Cross 62

Forward Six and Fall Back Six 66

Chapter 4

THE ROUND DANCES 70

The Rye Waltz 71

The Schottische 73

The Varsouvianna , 78

14 TABLE OF CONTENTS

The Polka 90

The Waltz 94

Waltzing in a Square 96

Pursuit Waltz 97

Waltz Turn within a Square 99

Waltz Balance or Dip 100

Spanish Waltz 101

Modern Waltz 102

Chapter 5

MORE SQUARES 104

Forming a Set 104

Docey-doe 104

Origins 105

Directions 108

Variations 117

The Lady Round the Lady and the Gent So Low 117

The Simpler Squares 120

Endings and Beginnings 121

Chapter 6

TYPES OF DANCES 123

Pop Goes the Weasel 123

Virginia Reel 124

Right and Left Through 127

Ladies Chain 127

TYPES OF WESTERN SQUARES 131

The Docey-doe Type 131

Second Couple Follow Up 135

Split-the-Ring Type 136

Symmetrical Type 138

The Single Visitor Type 138

Promenade the Outside King 138

Intermingling Type 139

Irregular Types 141

Original Dances " 142

Exhibition Dances 142

Little Children 143

PART II THE CALLS
THE FRAMEWORK 147

Introductions 147

Endings "... 151

Finish Phrases 160

Docey-doe Calls 160

THE DANCES
Docey-doe Group 165

Star by the Right .! 167

Lady Round the Lady 170

Two Gents Swing with the Elbow Swing : 172

TABLE OP CONTENTS 15

Step Right Up and Swing Her Awhile 174

I'll Swing Your Girl; You Swing Mine 176

Swing at the Wall 178

Go Round and Through 180

Him and Her 182

The Girl I Left Behind Me 184

Birdie in a Cage 187

The Lady Walks Round 189

The Dollar Whirl 191

The Butterfly Whirl 193

The Lady Round Two ... 195

Dive for the Oyster 197

Eight Hands Over 200

Right and Left Group 205

Promenade the Outside Ring and Docey-doe 206

Promenade the Inside Ring 208

Right and Left 211

Swing Your Opposite All Alone 213

Change and Swing Half 215

Right and Left Four and Six 217

Right and Left Four and the Center Couple Swing.... 220

Right and Left Back and Both Couples Swing 222

Right and Left Through and Swing That Girl

Behind You 224

Single Visitor Group 227

Adam and Eve 228

Old Arkansaw 230

Cheat and Swing 232

Bow and Kneel to That Lady 234

Honor That Lady 236

Docey Out As She Comes In 238

Swing the Right Hand Gent with the Right Hand

Round 241

Don't You Touch Her 244

Lady Go Halfway Round Again 246

Promenade Your Corners Round 249

Take Her Right Along 250

Yaller Gal 252

Buffaloes and Injuns 254

Line Dances 257

Forward Up Six 258

Forward Six and Fall Back Eight 261

Four in a Center Line 264

Figure Eight 267

Grapevine Twist 271

Rattlesnake Twist 274

Grapevine Twist (Garden Variety) 276

Bird in a Cage and Allemande Six 278

Four Leaf Clover 280

Indian Circle 282

Divide-the-Ring Group 285

Divide the Ring and Cut Away Four , 286

Split the Ring and Allemande 288

16 TABLE OP CONTENTS

Divide the Ring and Swing Corners 290

Divide the Ring and Docey Partners 292

Divide the Ring and Corners Bow 294

Divide the Ring Combination 296

Divide the Ring and Forward Up Six 298

Divide the Ring and Waltz Corners 300

Waltz Quadrille 303

Symmetrical Danoes 307

Four Gents Lead Out 308

Texas Star 310

Swing at the Center and Swing at the Sides 312

Sides Divide 314

Run Away to Alabam' 316

The Ocean Wave 318

Pokey Nine 321

The Singing Quadrille 324

Waltz That Girl Behind You 321

Intermingling Dances 335

Grand March Change , 336

Inside Arch 341

Arch and Under for the Length of the Hall 343

Three Ladies Change 346

Four Ladies Change the Length of the Hall 349

Right and Left Through the Length of the Hall 351

Forward and Back Eight 356

Double Bow Knot 358

Dive and Rescue the Lady , 361

Four Gents Cross Right Hands 364

GLOSSARY 367

APPENDIX COWBOY DANCE TUNES

TABLE OF CONTENTS 374

COWBOY DANCE TUNES 375

PHONOGRAPH RECORDS 395

INDEX 415

r

J
v

List

of
Illustrations

Cheyenne Mountain Dancers at Central City, Colorado Frontispiece

Allemande Left (series) 48-49

Grand Right and Left (series) 51-52

Typical Square (diagram) 56

An Introduction ( series) 59-61

The Schottische (series) , 74-75

The Varsouvianna (series) 80-85

The Polka 91

Waltzing in a square 96

Pursuit waltz 97

Waltz turn within a square 99

Spanish waltz 101

Modern waltz step 102

Dos-a-dos (series) 106-107

Docey-doe (series) 110-15

Eight and left through (series) 128-30

Ladies chain ( series ) 132-34

Back with the left and don't get lost 167

Lady round the lady and the gent so low 170

Two gents swing with the elbow swing , 172

Step right back and watch 'em grin 174

I'll swing your girl, you swing mine 176

Through that couple and swing in the hall 178

Go through and around and both couples swing 180

The gent around the lady and the lady round the gent 182

Promenade in single file 185

With a birdie in a cage and three hands round 187

Turn a three hand set and the lady ballonet 189

Change again and swing her six bits 191

And don't forget the Butterfly Whirl 193

The lady round two and the gent fall through 195

Dive for the oyster 197

Flap those girls and flap like thunder 200

18 LIST OF ILLUSTRATIONS

Right and left with the couple you meet 207

Two ladies change 209

Ladies circle four in the center of the set,

Two gents turn in a little side bet 211

Half promenade 213

Change and swing half 215

Right and left six 217

Right and left four and the center couple swing 221

Right and left back and both couples swing 223

And swing that girl behind you 225

And swing Miss Eve 228

Swing your paw 230

Cheat or swing 232

Kneel to that lady 234

Honor that lady 236

Allemande left and allemande aye,

Ingo bingo six penny high 239

Birdie in the center and seven hands round 242

Right and left grand but don't you touch 'em 245

The gent docey around these three 247

Promenade your corners round 249

Change and swing and take her right along 251

Four little yaller gals out around the ring 253

Four little buffaloes and three Injuns out around the ring 254

Forward up two and fall back two 259

Forward six and eight fall back 262

Side couples right and left along that four 265

Cut a figure eight with the lady in the lead 268

Twist 'em right, now twist 'em wrong 272

First gent lead down the rattlesnake's hole 274

Out to the center with a haw and a gee 276

Bird in a cage with five hands round 278

Promenade close like a four leaf clover 281

Promenade in single file,

Lady in the lead and Indian style 283

Down the center and cut away four 286

Swing when you meet both head and feet 289

Swing 'em on the corner as you come around 290

Docey corners, don't you fall 292

Corners bow 294

All run away with the corner girl 296

Down the center and divide the ring

The lady go right and the gent go left 299

Swing on the corner with a waltz promenade 301

The lady back center and the gent stay outside , 303

Give 'em a swing. . , . It's allemande left 308

Ladies swing in and the gents swing out 310

LIST OF ILLUSTRATIONS 19

Swing at the center and swing at the sides 312

Change and swing the center and swing the sides 315

Let 'em stand and the gents run away to Alabam' 317

Ocean wave 319

Three by three in a pokey nine 321

Dos-a-dos your partners 324

The lady goes right and the gent he goes left 325

Your left hand on your corner 326

Pass 'em by the left 332

Down the center four by four 337

All eight balance 341

Inside arch and outside under for the length of the hall 343

Three ladies change 346

Three ladies change the length of the hall 347

Right and left the length of the hall 351

Forward eight and fall back eight 356

Tie 'em up in a double bow knot 358

Dive and rescue the lady 361

Four gents cross right hands 364

Part
I

The
Dances

r

At
a

Cowboy
Dcmce

Git yo' little sagehens ready ;
Trot 'em out upon the floor
Line up there, you critters! Steady!
Lively, now ! One couple more.
Shorty, shed that ol' sombrero ;
Broncho, douse that cigaret;
Stop yer cussin', Casimero,
Tore the ladies. Now, all set :

S'lute yer ladies, all together;
Ladies opposite the same;
Hit the lumber with yer leather ;
Balance all an* swing yer dame ;
Bunch the heifers in the middle ;
Circle stags an' do-ce-do;
Keep a-steppin j to the fiddle;
Swing 'em round an' off you go.

First four forward. Back to places.
Second foller. Shuffle back-
Now you've got it down to cases
Swing 'em till their trotters crack.
Gents all right a-heel an' toein' ;
Swing 'em kiss 'em if yo' kin
On to next an' keep a-goin'
Till yo' hit yer pards agin.

Gents to center. Ladies 'round 'em;
Form a basket ; balance all ;
Swing yer sweets to where yo' found 'em ;
All p'mnade around the hall.

24 COWBOY DANCES

Balance to yer pards an' trot 'em
'Round the circle double quick;
Grab an' squeeze 'em while you've got 'em
Hold 'em to it if they kick.

Ladies, left hand to yer sonnies ;
Alaman ; grand right an' left ;
Balance all an' swing yer honies
Pick 'em up an' feel their heft.
All p'mnade like skeery cattle ;
Balance all an' swing yer sweets ;
Shake yer spurs an' make 'em rattle
Keno! Promenade to seats.

JAMES BARTON ADAMS

Chapter 1

r

3

We
Talk

It
Over

T 7ERY OFTEN at some dinner table or in some informal
\ group, the discussion has turned to my strange enthusi
asm for the old dances of the past, and I have found enough
interest and curiosity developed to lead directly to the
formation of a little group of friends who decided to join
with me and to try a bit of the dancing for themselves.

It is the natural way to start talk it over and then try
a dance or two. One has to know what it is all about first.
One naturally wonders where the dances came from, what
their relationship may be to other forms of dancing. Are
they still being done today? Just what do we mean by a
square dance? Where is the sport?

So let's talk it over informally. Much that we say will
have to be speculative. But guessing is good fun, and it
often arouses more interest than a cold array of scientific
and carefully classified facts.

When it comes to finding the origins of the Western
square dance, for instance, one simply has to speculate.
The dances and the calls, except in rare cases, were never
written down, but were transmitted from caller to caller
by the oral route. And all the footnotes and references and
authorities are lost in the process.

One old caller said to me in answer to my question about
a certain call, "Well, I reckon I don't know! My daddy
always called it this away. But he said his daddy had a
plumb different way, and I never felt sure about it. There's
something the matter with that call, and I don't like it. I
never use it unless I got to." A year later, in another place,
I found what I suspect of being a variation of the old grand-
daddy's call. At least it was more complete and gave sense
to the bobtailed lines he had used.

26 COWBOY DANCES

But where did the granddaddy get the original call ? We
can only guess. Back in the mist of the past, moving down
from father to son, from community to community, the old
calls spread without chronicler and without record. Usually
something was lost at each step from the original call, until
some semicreative natural genius, who liked to keep a con
tinuous patter of words going all the time, filled in the omis
sion with new words of his own, and a new variant was born.
But someone always protests that he has seen many an
old call book his aunt or his cousin still has a copy in the
family trunk. I have patiently run down dozens of these
old books, and so far they have always been call books of
New England quadrilles. And that is a different fish. New
England turned naturally to books. But these old Western
square dances grew up without benefit of letters.

Had these Western dances been the dances of scholars,
every variant would have been recorded and fully anno
tated. Chronologies and pedigrees and records would have
been kept. But these were the dances of country folk, who
kept all their essential knowledge written only on the un
certain pages of memory ! They were the dances of laconic
folk who didn't tell all they knew even under questioning!*
They were often the dances of secretive folk who were
somewhat jealous of their special talent and special
knowledge.

So all we have to go by in our speculations is the internal
evidence presented by the dances themselves. Fascinated
with bits of this evidence, I have pieced out the following
theory as my own explanation of the possible origin of the
Western dances.

I believe the two main sources to have been the New
England Quadrille and the Kentucky Running Set. In ad
dition, perhaps the Mexicans contributed something in the
way of steps, but their dances are usually not "called." And
lastly, I feel sure that some of the figures of the Western
dance were borrowed directly from old European folk
dances.

It will pay us to have a look at the two main probable
sources of our Western dance.

WE TALK IT OVER 27

The New England Quadrille

The New England or early American Quadrille was, of
course, an adaptation of a European dance. Usually France
is given credit for the origin of this form, although dances
executed by four couples arranged in a square figure with
a couple on each side of the square are found in the peasant
dances of nearly all the European countries. Undoubtedly
many of these contributed to the formal Quadrille which
was finally perfected in France and in England.

The Quadrille at the height of its favor was usually
danced in five parts, with a pause in the music between
each part and usually a complete change of the music for
each part. This tradition of five parts still persists in our
American Quadrille even when two parts are combined. It
is amusing to read in the introductions of some of our old
call books, that a Quadrille is always danced in five parts,
and then to search in vain through the book for a single
dance that has all five parts still separate and distinct.
Most of them are numbered, "one-three-five," or "one-two-
four," still preserving the tradition while saving only three
parts of the dance. This probably developed through having
only three parts to the music with two pauses. Even then
the American forms of the dance retained all five parts, but
with two pairs coalesced.

Unlike a Western dance, in the Quadrille the head couple
was numbered "one/' the opposite couple "two," the side
couple to the right "three," and the side couple to the left,
"four." In the first figure, after a general introduction, the
opposite couples maneuvered with each other in a variety of
patterns across the set. In the other figures all four couples
maneuvered together around the square which became a
circle of dancing action. Only occasionally did the first
couple execute a maneuver with the right-hand couple, then
on to the opposite couple and finally to the couple on the left,
thus working as it were around the square. In the more
formal quadrilles, this movement was always in the fourth
part and was named "The Visit." But this pattern of work
ing around the set is the standard form of the Western
Square Dance, as we shall later see.

The music for the Quadrille was precise, measured, and
accurately correlated with the figures and with the calls.
For proper execution the dancers should have been trained

28 COWBOY DANCES

by a dancing master. These conditions were, of course,
quite impossible on the ranches of the West.

Do you recall that fine description of a dance in Owen
Wister's The Virginian, where the cowboys swapped the
swaddling clothes of the sleeping infants? Imagine what
that bunch would have done with a French dancing master
counting "one-two-three." Distances were great in the
West. Dances could not be the affair of one small community.
From a hundred or more miles in every direction the dancers
would come. Some had just moved into the country from
Iowa. Some had drifted up from Texas. Some had followed
the herds down from summer grass in Montana. They could
not possibly do a precise and measured Quadrille. They
needed something simple in pattern that a man could learn
quickly, if he knew something like it back on his own
ranch, and with a good running call that would tell him what
to do even if he didn't. Thus developed a true Western
dance built on the New England square framework.

There are many call books available for the New Eng
land Quadrilles ; but I believe the best book for anyone who
is interested in these fine old dances is Good Morning, by
Mr. and Mrs. Henry Ford. Mr. Ford has done a splendid
thing in preserving the very best of these fine dances. He
has brought together the most skillful of the old fiddlers, the
finest of the old callers, and with his staff of expert assist
ants has made a complete study of the Quadrille. In his book
are full and excellent directions for dancing not only the old
Quadrilles but also most of the lovely "round dances" which
were the favorites of an earlier generation.

Any group wanting to have joyous fun, the exhilaration
of "real dancing," and the fascination of working out the
lovely patterns of these classic Quadrilles can do no better
than to turn to Good Morning and dance it through from
cover to cover, though they will have to see many a "good
morning" dawn before the job is done.

These New England Quadrilles are so well known that
it is only natural that they should popularly be thought the
chief source of the Western dance. And they surely con
tributed much, especially through such forms as the Sing
ing Quadrille and similar dances in which the call is sung,
with words and music fixed.

But probably the Quadrille is only a tributary. The main
stream, I believe, heads in the Kentucky Mountains.

WE TALK IT OVER 29

The Kentucky Running Set

In the mountains of Kentucky, and throughout the
Southern Appalachians, an old form of dance called the
Running Set has survived. Cecil Sharp, the great authority
on Country Dances of England, discovered the dance on his
visit to this country in 1917, and proclaimed it as one of
the purest and oldest dance forms of England. When first
told of the dance, he avoided it because he believed it to be
"a rough, uncouth dance, remarkable only as an exhibition
of agility and physical endurance." When he finally chanced
to see it danced, he was fascinated by its beauty or aesthetic
quality and by its historic significance. He made a careful
study of it and wrote a booklet on his findings which he
published as Part V of his authoritative study of English
dancing, The Country Dance Book.

In this little volume one immediately recognizes the
source of much that we find in the Western Square Dance.
The call and the spirit of the running set are much closer to
the Western form than is the New England Quadrille.

In the Running Set as many dancers as wish to may join
the figure, standing in couples in a huge circle. The dance
can follow many patterns, but here is a typical form. After
an introductory circle left similar to the introduction of the
Western dance, the first couple moves to the second and
executes a special figure, then on to the next couple and
repeats this figure. As they go on to the fourth couple, the
second couple folloivs up and executes the same figure with
the third couple, and then follows behind the first couple
and repeats the figure with each couple in the ring. As soon
as possible, the third couple folloivs up and dances with the
fourth, and then follows around the ring. This goes on until
every couple has followed in a sort of looping or crocheting
chain stitch of continuous ,and furious dancing.

The figures that they execute between couple and couple
not only bear a resemblance to the Western figures but in
some cases are identical. And the do-si-do, with which each
couple ties off when they finish the circle, survives in an
altered form in the Western dance.

Miss Ida Levin has published more recently a little vol
ume called Kentucky Square Dances. In this, the same Run
ning Set is danced as a square, and the similarity to the
Western dance is even more evident. While saying that any

30 COWBOY DANCES

number of couples may participate in the Running Set, Mr.
Sharp, it should be pointed out, also says that it is usually
danced as a square with four couples.

He concluded, after a careful study from internal evi
dence of the Running Set, that it is the earliest known form
of English Country Dance, earlier than any dance described
in Playford's famous English Dancing Master (1650), the
earliest known book on English dancing. The complete ab
sence of courtesy movements is one bit of evidence for this
conclusion. There is no French bowing or saluting before
the dance begins. In Playford's dances the court influence
is already felt and the courtesy movements have been
introduced.

Mr. Sharp was, of course, delighted with his discovery
of this earliest form of English dance. And not only does he
feel its connection with the May-day Round, which was the
source of all English country dances, and which was a
"pagan quasi-religious ceremonial," but he definitely traces
three of the figures which he found in the Kentucky Moun
tains back to their ancient pagan ceremonials ; one he con
nects with well worship, one with druidic tree worship, and
one is in the serpentine form of the Hey with its established
religious or magical significance.

It is not surprising that this missing link of the English
Country Dances should be found in our Appalachians. Ety
mologists have pointed out for some time that the phrases
and words and pronunciations of these hill people are almost
pure Elizabethan English. Isolated and changeless in their
mountains, they have preserved the pure English of Shake
speare, which we in our modern development or degenera
tion laugh at as the talk of hillbillies. In the same way they
have jealously preserved the ancient dance forms. Their
ancestors in northern England and in the lowlands of Scot
land as stubbornly preserved the true dances of their people
and would have nothing to do with the innovations which
Playford describes as the dances of London. When these
people moved to this country, they still held their ancient
forms unchanged and crystallized, fossils, if you will, for
all time.

And these Kentucky Dances are surely the chief forbears
of the Western dance. The names of some of the dances are
identical : Lady Round the Lady, Birdie in a Cage, Ladies in
the Center, Figure Eight. Unlike the Quadrille, whose

WE TALK IT OVER 31

couples are numbered in opposite pairs, the couples here are
numbered "one-two-three" around the circle to the right as
in our Western dance. With a little preliminary explanation
any group of Western dancers could instantly pick up and
execute the Kentucky dances in no time at all. Through the
Ozark Mountains of Missouri, where they are still danced
in an intermediate form, these dances probably moved on to
the West and developed a distinct form of their own to suit
the needs of our early pioneers.

To be sure, our Western dance has the courtesy move
ments, such as Honors right and honors left, and much bow
ing and saluting of the ladies. And this, of course, is de
rived from the New England Quadrille, along with such
figures as Right and left through, Two ladies change, etc.
But primarily, and at its very heart, I believe the Western
dance stems back to the pagan ceremonials of our English
ancestors by way of the Kentucky Running Set.

The Tide Comes Back

A book has just come to my desk which interests me very
much. Written most delightfully by two simon-pure New
Englafcders, Tolman and Page, it gives a picture of the
present-day New England dance as done in New Hamp
shire. They call it The Country Dance Book, probably quite
unaware that Cecil Sharp had used that title before them.
And as they say, "like a frog hollerin' for his own puddle/'
they describe their village dance quite unconcerned and en
tirely unaware of the square dance as danced in other parts
of the country.

The fascinating thing to me is the internal evidence in
the dances they describe of the impact of the Western
dance on their present-day New England forms. The waves
that rolled out from Kentucky and New England have
washed together and broken against the cliif s of the Rocky
Mountains and have now surged back with a new impulse
that is apparently felt all over New England. The tide
comes back.

The modern dances they describe are freer, a little more
irregular, a little more hilarious. I am sure they would
distress a dancing master of half a century ago. And the
"prompter" of that elder day with his clipped, terse direc
tions, is being replaced by a "caller" who fills in with a

32 COWBOY DANCES

constant line of patter which never ceases, and which has a
suspiciously Western tang.

And why not? There has been a constant interplay be
tween the East and the West in every other field of interest.
And our pioneer cities in the West also had their formal
dances given by the "best people" fifty years ago, and the
quadrilles and lancers were as exact and precise as any in
New England. But gradually the sagebrush and the cow
camp pushed in on them with an uncouth modification of the
Kentucky dance, and the do-si-do put on a white collar,
celluloid perhaps, and mingled with those "best people."

I treasure a little leather-bound manuscript book of
dance calls written in letter-plate longhand by a doctor-
druggist in one of our Colorado cities of half a century ago.
He called their dances for them and he must have called
them elegantly. Every dance is as formal and precise and
measured as his beautiful chirography, and it is 100 per cent
New England throughout the book.

Tolman and Page describe a couple of dances which they
say originated in New York. (Is not New York almost the
"West" to them?) In some parts of New England, they
say, "These dances were regarded with contempt reserved
for the foreigner. But the newer generation found them
fun to do and so they became established." And there is the
whole story in a nutshell. The modified Western dances were
carried back to New England by returning sons, and the
young people found them fun to do.

Where were they modified ? I have a friend from Indiana
who feels that they started there, but another friend from
Illinois feels that his state deserves the credit. Iowa could
make out one of the finest claims, if Missouri didn't have so
much to say. And Kansas can do some "hollerin' " on her
own account.

We of the Rocky Mountains must be careful not to con
sider all these states to the east of us as part of "the East,"
and our dances as "Western." Here in the high, dry country,
alas, Texas and Oklahoma, Montana and Wyoming, Arizona
and New Mexico, all feel they have a more important part
in the picture than even my beloved Colorado. And from
across the mountains come voices from Utah and Idaho and
California calling, "If you want to see the real Western
dance, come out here!" The waves chop back and forth
against each other and confuse us as to the original impulses.

WE TALK IT OVER 33

Perhaps one day they will all quiet down to one great Ameri
can folk-dance form. Perhaps on the great natural proving
ground of the cattle range, the last American frontier, where
virile youth wanted an hilarious good time, the cowboy
dance proved to be the survival of the fittest of the American
folk dance forms, and may be this great American dance.

It would shock my New England friends to hear an old
Colorado rancher ask me if I ever danced Hell's Victory.
From his description I was sure of the dance and told him

it was Hull's Victory, not "Hell's" "Hull's Victory with

his famous ship The Constitution." "No, no!" he says, "it's
Hell's Victory! Called it that ever since I w r as a boy!" The
waves chop back and forth. And it won't be long until a
Western docey-doe will feel quite at home in a New England
parlor.

The Music

It is often asked if it is not almost impossible for a
modern group to try these dances because it would be so-
difficult to find an old fiddler who could give the calls. And
there is always surprise at the answer that very seldom
does the fiddler do the calling. All you need is floor space,
a piano, and anyone who knows the call and the dance can
start without any special music. The cowboy dance is not
bound to the tradition of any unusual set of musical instru
ments. Every saloon and every dance hall had its honky-
tonk piano. The piano is part of its authentic tradition.

For beginners any of the old standard, monotonous,
rhythmic tunes, played on the piano in 2/4 or 6/8 time, such
as "Turkey in the Straw," "Arkansas Traveler," or the
famous old jigs and reels will do. To be any fun the dances
have to be held up to a good tempo, and I prefer the 2/4 time.
The 6/8 time is apt to be rather fatiguing to your musician,
repeating itself indefinitely through the long figure of the
dance. It is very apt to become slow with a little rocking-
horse repetition. And yet I must admit some of the best
old fiddlers seem to prefer this slower 6/8 rhythm.

I have asked some of my fiddler friends to list for me
their favorite tunes for square dancing. They have each
listed ten personal favorites which I have grouped as "a";
then the ten that they play frequently but not so often as
"b"; and finally, the ten that they play only occasionally.

34 COWBOY DANCES

However, they say it depends on the time and the crowd as
to which is their favorite and they never feel quite alike.
Since the names as well as the tunes are traditional and oral,
I have left them in their original spelling to illustrate this
point.

Emerson G. Howard's favorites are: ^

a. Soldiers Joy, Wild Horse, Heel and Toe Polkie,
Mississippi Sawyer, Flute Music, Girl I left Behind
Me, Paddie won't you Drink Some, Don't You
Want to go to Heaven Uncle Joe, Durang Horn
Pipe, and Grey Eagle.

Selections For Waltzes

b. Over the Waves, Peek a Boo, Doris Loan, My Little
WEE Dog, Bohemian Waltz, Rock the Little Baby
to Sleep, Dream Waltz, He's Sleeping In the Klon
dike Vail to Nite, Matcaisy, and Home Sweet
Home.

c. Red Bird, Buffalo Girls are you coming out to-nite,
Irish Wash Woman, Wagner, Louie Reak, Fisher
Hornpipe, Golden Slippers, Turkey in the Straw,
Give the Fiddler A Dram, and Casie Jones.

You will notice that "E. G." has put in ten favorite
waltzes in place of group b of the square dance tunes. I am
tempted to comment on many of the tunes in these lists, but
a few comments will illustrate my point sufficiently well.
Take the Dream Waltz in the above list as an example. "E.
G." tells me that he had played all night for a dance down
in Woodward County, Oklahoma. At dawn he lay down for
a little nap before having to go to work. When he awoke a
strange tune was singing itself in his head. He got out his
old fiddle and played it till he had it set in his mind. It is his
"Dream Waltz," and other fiddlers who learned it from him
call it "Emerson's Dream." The tune "Wild Horse" he heard
and liked at a show. He didn't know what it was but later
another fiddlin' friend heard him playing it and told him
it was called "Wild Horse." He has called it that ever since.
There was an old fiddler by the name of Louie Reak who
claimed that he himself had "made up" a tune that he played.
You will find it under the name "Louie Reak." But I must
drop the stories and get on with my lists.

WE TALK IT OVER 35

Smokey Minson's favorites are :

a. Ragged Annie, Hoe Down, Soldier Joy, 8th Day
of January, Arkansas Traveler, Turkey in the
Straw, New Money, Texas Break Down, Lop-
eared Mule, and Waggoner.

b. Love Nobody, The Girl I Left Behind Me, Haste to
the Wedding, Buffalo Girls, Old Joe Clark, Do
Rang Hornpipe, D and G Rag, Woe Mule, Irish
Wash Woman, and Dill Pickle Rag.

Nick Nicholas favorites are :

a. Turkey in the Straw, Irish Washer Woman, Soap
Suds Over the Fence, Sugar in the Gourd, Arkan-
saw Traveler, Soldier's Joy, Chicken Reel, The
Girl I Left Behind Me, Buffalo Girls, and Devil's
Dream.

b. Little Brown Jug, 8th of January, Ragged Annie,
New Money, Texas Breakdown, Waggoner, Dill
Pickle Rag, Haste to the Wedding, and D and G
Rag.

c. Lop-eared Mule, Durang Horn Pipe, Leather
Breeches, Sally Goodyn and Old Susanna,

Dad Ead's favorite tunes :

a. Flat Wood Square Dance, Never Saw the Like
Since Getting Upstairs, Long-eared Mule, Leather
Britches, Durang Hornpipe own arrangement,
Tennessee Wagoner and Missouri Wagoner, Vir
ginia Reel, Eads Two Step, Dick Reavis D Cord
Reel, Arkansas Traveler.

b. Smokey Mountain Buffalo Gals, Sallie Goodin,
Irish Washwoman, Eads Country Dance Reel, Old
Dick Reavis G Cord, Brushy Branch, Texas
Breakdown, Laplace March, March Italia, Life on
Ocean Waves.

c. Fisher's Hornpipe, Sailor's Hornpipe, Devil's
Dream, Just an Old Time Waltz With You, Over
the Waves Waltz, Paddie Won't you Drink Some,
Haste to the Wedding, Salt Lake City Two-Step,
Missippi Sawyer, Husking Bee, Gullie Hoppers
Dance.

36 COWBOY DANCES

For a small group of beginners who are just learning the
idea of the dance, a piano is quite sufficient. But if the
group begins to get good, they will want authentic music,
which means that a good old-time fiddler must be found, and
it is surprising how a little inquiry will usually discover one
in any community. Most carefully schooled violinists simply
cannot produce the authentic flavor. "Fiddlers" have mas
tered a proud craft all their own. They consider it a dis
grace to be a "note-reader." They have learned to fiddle by
ear from some other old-time fiddler. And they usually
learned to fiddle when they were little boys.

What they lack in concert technique, they more than
make up in dexterity and endurance and inviolable rhythm.
They usually tuck their fiddle under their chins in the
standard fashion, but they hold it at any bizarre angle that
suits their individual fancy. One of the best fiddlers I know
never tucks his instrument under his chin, but holds it in
the crook of his elbow, lying out along his forearm, curling
his long fingers up around the strings with amazing dex
terity, and swinging his bow in long sweeps back and forth
in front of his waist. Another fine fiddler I know, because
of an accident, had to give up the standard position for
awhile, and perfected a style in which he holds his fiddle
propped up vertically on his knee, strings away from his
body like a tiny cello, and ready for a nice long comfortable
sweep of his bow arm. He found this position so good that
he never changed back again.

When you have found your old fiddler, he will usually
have to furnish his own pianist. For since he is not a "note
reader," a regular pianist, with printed music before her,
worries him till he cannot play. He usually knows a "woman"
who can either play chords to his music or who can elaborate
those chords into a full and figured melody. But they must
be teamed and used to each other or the fiddler cannot play
at all. With these two old-time musicians it is customary to
have a "strummer" who beats out the rhythm with either
a guitar or a banjo. Sometimes drums are added to these
three. Or a big base fiddle, plucked, not bowed, gives worlds
of good rhythm. In fact, one of these good big-toned "bull
fiddles," and an accordion, to accompany your old-time
fiddler, makes a combination that is hard to beat.

A modern jazz orchestra with its saxophones and clari
nets, somehow cannot supply authentic flavor. If a real

WE TALK IT OVER 37

old-time orchestra cannot be found it is almost best to limit
oneself to a good pianist, who is in sympathy with the old
jigs and reels and willing to try for the real old-time flavor.

There are many old-time books of, music. Perhaps as
good as any for the pianist to begin with is the Pioneer
Collection of Old Time Dances, published by the Paull-
Pioneer Music Corporation. But she must remember that
one simple old tune of eight or sixteen bars will have to be
repeated through all the seven or eight minutes it takes to
dance a square, with whatever variation that she can invent.
Or if she must, she can modulate into another tune now and
then in the middle of a dance.

But not so with the old-time musicians. When I call a
dance, most of my fiddlers ask me to let them know each
"call" just before I call it, because they want to be pre
pared to give that call the old tune which their experience
has taught them is best for it. And they hold that tune
through to the bitter end of the call. For the special old-
time round dances, or couple dances, such as the varsouvi-
anna, the schottische, and the polka, there is, of course,
special music.

But we have gone a long way from our dinner party
and their discussion of the origins of the Western square.
By now they will be wanting to know just how a Western
dance is done. If they get really interested, it may be
necessary to place cubes of sugar on the table in a sample
square and maneuver them around through some sweet
little dance. But a real discussion of the figure and steps of
the dance had better wait until the first real dance, when we
can get a set of dancers out on the floor to demonstrate it
all for them.

Chapter 2

r

The
First
Dance

WHEN a group of beginners are brought together for
their first dance, doubts and embarrassments and
reluctance are apt to be manifest. For this reason it is best
to have no audience present to add to this embarrassment.
There is always a group of the curious who like to sit on the
side lines and watch others pioneer and who say that per
haps they will try it later. It is hard enough to go through
what the psychologist calls the period of "initial diffuse
movements" (and what the beginner calls "making a fool
of himself") in learning a new set of reactions without
having the curious smiles of the onlookers make the initial
movements even more diffuse. So, for the best success, only
those who are willing to try the dances themselves, should
be invited to the party.

If one full set of experienced dancers can be present they
will prove invaluable. They can first demonstrate the dance
to be learned (and we learn most quickly by imitating what
we have seen) , and then the demonstrator set can split up
and one of its experienced couples can take its place as the
first or head couple of each set of beginners and lead them
through the figure with a great economy of time.

The Caller

The success of the first dance will depend upon the effec
tiveness of the "caller." The hostess, or the chairman, may
make all arrangements and get the dancers and accoutre
ments together, but it is the "caller" who will have to put
the dance over. Once started, the dance is in his hands. A
committee of explainers and directors only outbabbles the
tower of Babel itself. The caller must give all the com-

THE FIRST DANCE 39

mands, all the explanations, all the directions. Of course,
having explained a movement and asked the dancers to try
it in a "time out'' period, then and only then can the leading
couples, and all the experienced dancers present, help and
explain personally to all who do not know.

At first blush, it would seem that a professional caller
would be necessary. But I have found that many experienced
callers are at a loss in teaching beginners. They are expert
at calling for experienced dancers. But they are not natural
teachers and are at a complete loss to make things clear to
beginners. Then, too, they have often developed a nasal
twang, or a lightning patter; they are extremely picturesque
and colorful and interesting and are perfectly intelligible to
experienced dancers who are used to them, but completely
unintelligible to a beginner. An experienced dancer, who not
only knows the caller but also the call itself, can make a
change on the slightest variation of intonation or inflection.
But to a beginner it is only "gibberish" it is "jaberwocky" ;
and he is completely confused while the professional caller
considers him unbelievably stupid. He thinks he told him
what to do and that only a fool would fail to do it. But if the
beginner cannot understand him he has told him nothing.

A good amateur caller then should first have the voice^
loud, clear, and distinct. He should have done enough public
speaking to enunciate distinctly and to be able to throw his
voice so that it will cut through the stamping and laughing
and chatter of the dance hall as sharply as a knife. For if he
is not heard he might just as well be absent.

At times he may prefer to sing his call and this is very
effective. But he must remember that singing is never as
clear, as easily understood, as the spoken word, and his first
duty is to be understood. Thus he usually compromises by us
ing a sort of singing chant, speaking his words distinctly but
pitching them on a musical tone and giving them a chanting
or singing quality. This note or tone must be in key with
his orchestra, that is it must be on one of the elements of the
chord of the key in which the orchestra is playing. His voice
then, like the "bull fiddle," is simply chording with the or
chestra. The simplest chord, of course, is made up of three
tones, the tonic, the dominant, and the third. He will find
that he usually pitches his voice instinctively on the domi
nant, though he will often shift back and forth to the other

40 COWBOY DANCES

two notes. He must not be self-conscious about the special
note or its technical name, but he must make sure that the
note he uses is in harmony with his orchestra at all times.

He, of course, must be thoroughly familiar with the calls
before the dance begins. If it is all new to him it means not
only preliminary study, but he will probably have to get a
few friends together beforehand and move them around
and work it all out until everything is perfectly clear to him
and practiced enough to be running smoothly. Our caller
must have an infallible sense of rhythm, not only of the
fiddle, but instinctively timing his phrases with the four- or
eight-bar units that the music itself is built on. This must
be instinctive, for with different groups on the floor, some
fast and some slow, he never calls his dance twice alike.
If he ever fails in the rhythm of his phrasing, the dancers
find the dance no fun at all, even though they may not be
able to analyze the source of the trouble.

This means that the caller often has to start his call
phrase on the weak part of a musical phrase. If both his call
and the musical phrase are built to the count of eight, it
would be theoretically best for them to start together on the
count of "one." But if the dancers get behind, the "one" of
the call may have to fall on the "five" of the music, starting
this on the second half of the musical phrase. Take, for
example, the call "Two gents swing with the elbow swing"
on page 172 and count it out on the four fingers of your left
hand. You will find you have counted through your four
fingers exactly four times. But now put a set of dancers
before you and try it, and you will find they simply can't
keep up with that mechanical perfection of four sets of four
counts. They have too far to go around each other, too much
floor to cover. Now you will have to introduce waits (two
counts each time, since one beat of wait would throw the
next phrase out of step) . Perhaps it would count something
like this :

Two gents swing with the elbow swing

(Wait, wait)

Opposite partners elbows swing

Now two gents with the same old thing

(Wait, wait)

Now your partners elbows swing.

Our caller must also possess an unerring geometric

THE FIRST DANCE 41

sense, that is a spatial sense of moving and interrelated pat
tern. We all recognize the presence or absence of a color
sense or a sense of smell or a sense of taste. We would not
expect a person without an "ear" or a sense of tone to par
ticipate in group singing, or a "color blind" person to exe
cute a painting. And yet I am convinced that though psy
chologists have never recognized it, there are as many people
who lack a "spatial," a "geometric" sense as there are those
who lack a sense of color or of tone. And we find that they
are never able to learn how to square dance. In spite of an
otherwise high order of intelligence and in spite of endless
instruction, the pattern means nothing to them and they are
forever running off in the wrong direction. It goes without
saying that an infallible spatial or geometric sense is essen
tial to any good caller.

Then he should be a natural teacher, which so many of
the old professional callers, alas, are not. By natural teacher,
I mean, he must not only be able to make his ideas perfectly
clear, but if the beginner does not understand one way he
must be able to explain in another and another until it all
comes clear. This means that he must not only be able to
analyze every detail of the dance, but he must be able
instantly to analyze the difficulty that stands in the way of
the beginner.

Not only is this clear-headedness essential in teaching the
dance, but it is very necessary in the midst of the calling.
He will see the whole pattern weaving itself out before him
on the floor. Here a set of more experienced dancers may
be running ahead of his call. There an especially slow set is
falling farther and farther behind. He must keep them to
gether. He must put more command in his voice, and make
the fast ones wait and the slow ones catch up. (In extreme
cases he has to stop the dance and beg the fast ones to wait
for the call, and the slow ones to follow the call even if they
have to leave out a section in which they have bogged down.
Everyone must follow the call on the instant or it will be
bedlam.) Ten or twenty sets on a floor all moving exactly
to the call is a sight to be remembered.

Always there will be distractions. Someone always
wants to talk to the caller in the very middle of his call.
And even though he does not listen he is severely distracted.
Fast sets, slow sets, new arrivals, little accidents, all tend to
distract him. But he must keep his eye on that unfolding

42 COWBOY DANCES

pattern, and carry it on, and keep his place exactly timed in
every call.

It is not an easy job. I have seen experts who regularly
got their calls out of order, or left one couple completely
out. And I have seen many experienced callers who could
not keep two sets together in a dance. It is a special trick
and not nearly as easy as it looks.

Yet there is always some simple-minded, rather loud
mouthed individual who keeps asking to be allowed to do
the calling simply because he enjoys his own noise and loves
to be at the center of things. Experienced dancers may carry
on in spite of him. But beginners will fall in confusion be
fore him, their enthusiasms all laid low.

The quick, intelligent, capable caller that I have de
scribed will find one more river yet to cross, and that is his
own first embarrassment and his finest qualities only make
this river seem wider. He will feel everyone look at him
most peculiarly on his least faltering or his tiniest mistake.
But he must carry on clearly and smoothly and forcefully,
in spite of the embarrassment. It comes mostly from the
newness of his job. All good callers have had to swim this
river. He may be tempted to carry cards in his hands to
read from, but they are apt to make it worse. He had better
put it all in his memory, and then plunge in. Soon he will
find it going smoothly, and he will know the delight of con
trolling a great unfolding pattern of human beings through
the contagious beauty of a dance.

But, it will be asked, does not the fiddler do the calling?
No, not very often in a Western dance. I know many fiddlers
who are also good callers, but they never do both jobs at
once. "Calling is hard enough/' they tell me, "without hav
ing to keep the fiddle going too." In the old New England
Quadrilles, where the dances are more symmetrical, the
calls very much shorter, and the changes always occurring
on a change of the music, which is the particular music for
that particular dance, the fiddler can and often does do the
calling. But in the Western dance it is very rare indeed.

Circle Two-Step

If the party is large it often pays to start with an "ice
breaker," such as the Circle Two-Step. This gets them all
used to laughing and trying together, mixes them up thor-

THE FIRST DANCE 43

oughly and breaks down all barriers and stiffness, and gives
them all a chance to become familiar with a few fundamental
elements of the old dances.

Have all the dancers stand holding hands in a great
circle around the hall and all facing the center of the room.
Men and women must alternate. Two or three extra women
or a few extra men together in the circle will spoil the dance.
The caller must see to it that they are evenly and alternately
distributed.

He must then explain that the woman on each man's
right is his partner, that each will constantly get new part
ners in this dance, but always the woman to the right is the
man's partner. It is well to explain further that in all old-
time dancing not only is the woman on the right the man's
partner, but he must get the habit of always putting his
partner on his right when he takes a position in the circle
or in a square or when he promenades the hall. As soon as
each man learns always to put his partner on his right side
much of the confusion of learning is eliminated.

Now the caller briefly explains the few directions or
"calls" that he will use during the dance, and has the group
walk through them slowly before the music begins.

Circle right Still holding hands, each dancer turns to
the right and walks with a light gliding step around the
circle in that direction until the call is changed.

Circle left Each dancer, turning to the left and still
holding hands, walks with the circle in the opposite direc
tion, or to the left. The caller must explain that he will
never call these circles in the same order and that they must
get used to listening for the "call" and following the "call"
on the instant, whatever it is.

Forward and back The whole circle, holding hands,
walks forward, beginning with the right foot, four steps
toward the center, closing in the circle, and then walks four
steps back.

Grand right and left Each man, turning to the right,
faces his partner and takes her right hand (she having
turned to her left and faced him) . Partners walk past each
other holding right hands for a moment and then releasing
them so that the man can take the next lady in the circle by
the left hand, while the lady takes the next man by the left,
and in this fashion they keep, marching, each taking each
new person they meet alternately with the right and then

44 COWBOY DANCES

with the left hands. The men find themselves marching
around the circle to the right, or counterclockwise, in a sort
of serpentine through the oncoming line of ladies, taking the
first by the right hand, the next by the left, and so on alter
nately until the call is changed. The ladies, in the meantime,
are marching to the left, or clockwise, around the circle,
passing to the right and then to the left of the individuals in
the oncoming column of men.

(Note: This, of course, is only half of the regular call.
But I have found it simpler to start beginners this way, and
not to mention the "allemande left" with which this figure
always begins until they have become thoroughly familiar
with the simple right and left.)

Dance that pretty gal around or simply Everybody dance
Each man chooses the nearest girl to him, the one whose
hand he has just reached, and swings her into an old-
fashioned two-step, anywhere around the floor. Quite often
the two lines are moving unevenly, and there will be a
concentration or surplus of girls in one place, while in an
other part of the circle there will be a surplus of men left
without partners. It must be explained that each man must
run across the circle as quickly as possible and choose the
first unengaged girl he meets as his partner. It often helps
for some man who is dancing by her to call out Here's an
empty so as to make it easier for the lone men to find these
stray women, and incidentally this always puts more laugh
ter into the party.

Form a grand circle, put your lady down on your right
All the dancers fall back to the wall and take hands again in
a great circle. (Only for the first few times will it be neces
sary to call Put your lady doivn on your right. As soon as
it becomes instinctive to put the lady on the right, we call
only Form a grand circle. But until that time it is well to
add this phrase and avoid the confusion that otherwise
entails,)

Having explained the calls it is well to try it just once
with the music, using the calls in the order in which they
are given above. If the dancers get in trouble, it is necessary
to stop and explain their difficulties. But usually they catch
right on and you can go ahead.

As soon as the dancers are going nicely the call should
be varied in order to get them used to following the call. The
Circle right, Circle left, and Fonvard and back should never

THE FIRST DANCE 45

be given twice in the same order. But, of course, once the
Grand right and left has been called, it must be followed by
Dance that pretty gal around, and after a period of general
dancing must be followed by Form your grand circle.

After the dancers have gone through the whole dance
several times it may be necessary to advise them about the
shuffling gliding step that is used, and about the carriage of
the upper body.

The Steps

The Circle Two-Step offers a good chance to practice the
steps that are used in all square dancing. And though some
of the variants are seldom used in this circle dance, it may be
best to discuss them all at this time.

The step most frequently used is a light, gliding, shuffling
walk with a promenade rhythm. The knees are loose, the
step is light and somewhat shuffling an^ in complete swing
with the music. The best dancers hold themselves quite
erect or stiff from the waist up, shoulders back and elbows
high, wide, and handsome, the dip and sway of the body
being mostly produced from the loose-jointed hips and knees.
There is a grace and beauty and swing to a good dancer that
is very catching.

Some dancers take a little leap or jump on each step,
springing up and down quite joyously. This is usually the
mark of a beginner. The old-timers are always so smooth
that if you saw them dancing beyond a low wall, you would
think they were whirling and spinning and moving on cas
ters or wheels, such is the action of the upper body. Watch
ing their feet, however, one is fascinated with the flash
and speed and loose-jointed abandon. Nearly all of them
put in frequent "breaks 77 or "two-steps." (The same step
that is used in marching to get in step with the platoon.) In
step and out of step they continually interpolate this little
"break." Now and then they "stamp" to accent the rhythm.
And the best dancers throw in a little jig or "hoe-down"
without ever missing their step, just a flashing little flourish
to add fun and beauty to the figure.

Once in a while, though very rarely, and always for some
special call, the whole set may do a "hippety-hop," or skip
ping step. But this is very exhausting and is seldom seen.

46 COWBOY DANCES

It is best to discourage it in the Circle Two-Step, though
some beginners instinctively try to do it.

I once saw a very fine group of dancers in a state con
test use a slow "cakewalk" step, with arms folded high on
the chest, head well back, and knees lifted very high on each
step. It was effective, but all the old-timers around me
insisted that it was not the real thing, that nobody ever
danced like that in the good old days. I suspect, though, that
even in the good old days special groups did whatever they
pleased if it added fun to the dance, even as they still do
today.

The most effective, the most fun, and the most fascinat
ing step to watch is the good old gliding, shuffling, rhythmi
cal walk, perfected until it has an uncouth grace all of its
own.

When they choose their partners in the Grand Right and
Left and dance freely over the floor they should use the old-
fashioned two-step. This will prove a difficulty to some of
them. Of course, th easiest solution is to let them one-step.
But it creates more fun and gives the satisfaction of start
ing with a good old-time dance step if the two-step is more
or less mastered. They came for an old-fashioned dance,
and they are usually laughingly jubilant over their jerky
two-step, no matter how badly they do it.

The Two-Step

The two-step is essentially a step-together-step or step-
close-step, starting alternately to one side and then the other.
Or it is analyzed more completely as follows, in which the
directions are given for the man, the woman of course,
using the opposite foot and the opposite direction from the
man.

On the first beat of the music let the man slide his left
foot out to the left, and before the second beat let him close
his right foot to his left. Then on the second beat let him
step backward in a short step with his left foot. On the
first beat of the second bar of the music let him slide his
right foot to the right and quickly close his left foot to his
right, and on the second beat take a short step forward with
his right foot.

If he repeats this through several bars of music, for
practice, he will find that he is remaining almost in one spot,

THE FIRST DANCE 47

doing a sort of flattened square. But this will give him his
rhythm and his steps most quickly, and when it is mastered
he can step forward or back as he wishes and progress in
any direction he may choose. To go forward, for instance,
he will slide with his left, close together with his right, and
take a short step forward with his left then on the next
bar of music slide with his right, close together with his left
and take a short step forward with his right. He will repeat
this series as long as he wishes to continue forward.

Since on the first beat there is the "slide" and the "close"
and on the second beat of the music only the "step," some
beginners find it easier to count the music "one-and-two-
and," "one-and-two-and," etc. In this case they "slide" on
the "one," "close" on the "and," and "step" on the "two,"
holding through the final "and."

The real two-step should be smooth and beautiful to
watch. But in a Western dance it is quite in kind to make it
joyous and bouncy. In fact, the man will find that if he
spins continuously to the right while he dances (that is,
in the "right face" direction), it is good fun to lift the lady
off the floor as he "slides" (or just before he "slides") with
his right foot. As he leads with his left he does a regular
two-step, but always as he leads with his right he lifts his
partner as high as he dares without spoiling her rhythm or
her step, for she must come down exactly on the beat. And
the faster the spin, the greater the centrifugal force, and the
easier the lift. The ladies, bless 'em, seem to like it.

In fact if a group does not care to master a smooth two-
step, it is wise for the caller to ask for a Hippety-hop and
they will all falHnto something sufficiently like the two-step
to serve the purpose. And they will think they are having
a very good time.

Allemande Left

After the dancers have the simple version given above
so smoothly that the Grand right and left (where the trouble
usually occurs) is faultless every time, the men all imme
diately starting to the right, or counterclockwise, and the
ladies all going to the left, or clockwise, it is necessary for
the caller to explain to them that a Grand right and left is
almost universally preceded by a little introductory turn
called Allemande left.

JJK n }>'< -

^K 't "'^',1.1

1. Allemande (After a preliminary swing each couple breaks holds.)

2. left (Each gentleman advances to his corner lady)

ALLEMANDE LEFT

3. with your (takes her by the left hand)

4. left hand (and completely encircles her)

ALLEMANDE LEFT

50 COWBOY DANCES

If they are a group who are interested in terminology
and origins, he may want to discuss this familiar old word of
the Western dance caller. It has been suggested that it
comes from the French phrase "a-la-main" or "on-the~
hand" and that "allemande left" is simply a corruption of
"on-the-left-hand." But though it sounds reasonable enough,
I doubt if there is a drop of French blood in the word. Nor
do I think it is a corrupted form of the Swiss "allewander,"
their term for a "right and left" derived from the root
"to wind." The spelling clearly indicates German. And we
find that there was a famous old dance called the "Alle
mande" or "German," which was full of turns, the gentle
man forever taking the lady's hand and turning around her.
And I believe that "allemande left" simply means do a left
turn around your lady as they used to do in the old "alle
mande."

If your dancers are enjoying your explanatory talk while
they catch their breath, it may interest some of them to know
that the "right and left" which is part of this figure is a
very ancient step indeed. Three or four hundred years ago
it was known through Europe as the chame anglaise, or the
English chain. And even earlier in England it was called
the "Hey" the "shepherds' hey" that the earliest poets
wrote about. This same interweaving chain survives in the
"Grand right and left" of a Western cow camp. Shepherds'
hey!

The caller will explain that the complete call is usually
given in some such form as:

Allemande left with your left hand,

Then right hand to partner and right and left grand,

but that until they get more used to the call and the idea
he will use a simpler form which goes :

Swing your left hand lady with your left hand,
Then right hand to partner and right and left grand.

In this maneuver of the allemande each gentleman faces
left, instead of turning right to face his partner, and each
lady faces right, so that the gentlemen stand facing their
left-hand ladies. They take left hands and walk once around
each other and back to their own positions. This leaves
them now facing their partners, whom they take with their
right hands and inarch past them in the old familiar Grand

5. Right hand to partner (He now gives his partner)

6. and right (his right hand and passes on beyond her.)

GRAND BIGHT AND LEFT

7. and left (He gives the next oncoming lady his left hand, passes her)

8. grand! (Gives his right to the next lady, and so on alternately
passing each with a left or a right)

GRAND RIGHT AND LEFT

THE FIRST DANCE 53

right and left in the same direction and same manner as
they first learned it. It is nothing but the right and left
preceded by a little left hook, or complete turn, around the
left-hand lady, holding her left hand as you circle each
other.

It is so simple that it may seem labored to teach it in
two parts in this way. But I have found, especially with a
large crowd, that it saves a lot of confusion and innumer
able collisions. Starting with the simple Grand right and
left gets their directions established and the men get in
the habit of always going right and the ladies always going
left with a serpentine, touching alternate hands. Once this
is established it is easy to add the preliminary left hook of
the Allemande, and the trick is done. But try to teach the
two maneuvers at the same time to a large crowd and you
will have them all running off wildly in all directions, and
the stampede will be hard to check.

When you start dancing again, after the explanation, it
will be well for the first three or four times through the
dance always to use the simpler call Siving the left hand
lady with your left hand. It helps them get started. Once
they are used to the figure, start calling Allemande left with
your left hand, and use this more standard form always
thereafter.

The Circle Two-Step is simple to learn and fun to do,
and when you finally stop them (by simply having the music
stop in one of the periods of the two-step) they will prob
ably shout and clap and call for more. To keep their interest
up you can then give them some other simple and popular
variations.

Variations

After the two-step, instead of calling form a grand circle
you may call :

Form a double circle
Ladies on the inside,
Gents on the out!
Ladies on the inside,
Pretty side out!

In this case there will be an outer circle of men only,
holding each other by the hands and facing inward in the

54 COWBOY DANCES

regular fashion. Inside them there will be an inner ring of
only women, facing toward the men (pretty side out) and
holding each other by the hands in a circle. When the two
rings have formed, call :

Everybody circle right. Since the two rings are facing
each other it makes each go opposite the other or past each
other. When they have passed far enough to assure a new
partner for everyone, call: Everybody pick the prettiest
gal and dance and they are off on the two-step again.

Since the two circles must always go in opposite direc
tions a new caller often calls Ladies go right and gents go
left hoping to make them do so. But since the two rings are
facing each other this means that they will then both go in
the same direction or in a sort of double column. So, in
order to send them past each other, be simple and call either
Everybody circle right or Everybody circle left, and that
will send the two rings past each other.

Once they are familiar with this variation the caller can
call either figure after the two-step and arrange all the
parts in any way to suit his fancy.

Another pleasant variation after the two-step is to call
Promenade now two by two. They should march side by
side, lady on the right and holding both hands crossed over
in front like a pair of skaters. And as soon as they are
promenading smoothly (to the right, of course, or counter
clockwise), you can call Gents go forward and the ladies
turn back (or The ladies go forward and the gents turn
back, as your fancy dictates, and never twice alike) . When
they are well mixed you again call Everybody choose the
prettiest gal and dance.

This variation is very helpful when the crowd is large
and the hall is small, for then the Grand circle can hardly fit
around the room without loops and scallops in the circle,
and the allemande is very difficult to do with such crowding.
When they Promenade two by two it makes the circumfer
ence of the circle just half as large and simplifies every
thing, in addition to being good fun.

A third variation can be enjoyed by calling Promenade
four by four when two couples march four abreast with
arms hooked in elbows. This often causes a little confusion
by some couple being left stranded without another couple
to fill out their four. But if they look around the circle they
can usually find another single couple who are also stranded,

THE FIRST DANCE 55

and they can run across the circle and join with them to
complete their four. When they are well arranged and
marching- smoothly four by four, you can call Keep your
four columns moving while the gents go fonvard and the
ladies turn back. This gets them milling even more amus
ingly until you call Pick the prettiest gal and dance.

Summary

To start the dance the caller often needs only to have the
orchestra start a two-step and when they are all out on the
floor dancing he can call Form a grand circle and go- on with
the dance.

A typical form for the whole call might be something
like this:

Circle Two-Step

Form your grand circle;
Circle left (or Circle right)
Forward and back.
Now allemande left as you come down,
Grand right and left and so on around,
Right foot up and left foot down,
Make that big foot jar the ground,
Now dance that pretty gal around.

S

Form a grand circle

And so on as long as desired, introducing whatever
variation he wishes after the two-step period and stopping
the dance by stopping the music during a two-step.

Chapter 3
f

.

A

Simple
Square

THE Circle Two-Step is so easy that your crowd will feel
very confident and pleased with themselves as soon as
they have done it a few times through. Now, laughing and
friendly, with all their inhibitions stilled, they are ready for
their first square dance.

While they are catching their breath from the Circle
Two-Step is a good time to get them seated and give them a
preliminary discussion on the theory of the square. It will
help a good deal to put a set of dancers out on the floor in
order to make your explanations clearer. If you have a
demonstration set of experienced dancers it will make your

DIAGRAM OF A TYPICAL SQUARE DISTINGUISHING THE FOUR LADIES IN
RELATION TO THE FIRST GENTLEMAN.

A SIMPLE SQUARE 57

task even easier. But lacking them, you can put any four
couples out on the floor and make things clear enough by
moving them around.

The Positions

A set of dancers or a square is composed of four couples,
each standing on one of the sides of an imaginary square, or
towards one of the four walls of the room and each couple
facing the center of the square (or the opposite couple).
Where space is crowded this imaginary square need be only
eight or ten feet across. But it is better, especially with
beginners, to allow ten or twelve feet across for each square.

In each square and throughout the dance the lady's posi
tion is always to the right side of her partner. If this rule
of always putting the lady on the right is carefully followed
much confusion in learning can be avoided. In fact, the
position of the lady gives her the name by which she is
designated in the call. For each man the lady on his right
is his "partner," the lady on his left is his "corner," the lady
across from him is his "opposite," and the lady to the right
beyond his partner is the "right hand lady/' though she
seldom figures in the calls. For each lady, likewise, the man
on her left is her "partner," the man on her right is her
"corner," the man across from her is her "opposite," and
the man on the left next beyond her partner is the "left
hand gent."

Each couple is numbered according to the side of the
square on which they are standing, and they always return
to this same or "home" position after each promenade or
special maneuver. The couple standing nearest to and with
their backs to the head of the hall is called "first couple." The
couple to their right is called "second couple," the couple
opposite them is "third couple," and the couple standing
on their left is called the "fourth couple." The head
of the hall is usually that end of the hall nearest the or
chestra. If the orchestra is located in the middle of one of
the sides, the caller should announce before the first dance
begins which end of the hall is considered the "head." Since
the "first couple" stands nearest the head of the hall they
are sometimes called "head couple." And, of course, the
"third couple" is called "foot couple." In this case the
"second and fourth couples" are called "the sides," without
differentiation between them.

58 COWBOY DANCES

Throughout any simple dance each couple is known as
"first/' "second," "third/' etc., by the position they occupy
at the beginning of the dance. And throughout this par
ticular dance they always return to this same home position.
For the second dance of the evening, however, they may each
shift into a new set or square and take any position they
happen to find open, keeping this position throughout any
one dance. In a real old-fashioned square dance, where
most of the evening is given to these old figures it is cus
tomary to call the sets out on the floor and to call two
dances one after the other. These two separate dances are
called the first and second "tip" of the set. And when the
first dance is finished everyone remains standing in his
position on the floor, laughing and visiting until the music
starts again, and then the set dances the second "tip," re
taining through it their same positions or numbers.

The Introduction

It must be explained that a square dance usually opens
with one of several possible introductory figures. The fol
lowing is perhaps the commonest form :

Honors right and honors left Each man bows first to
the lady on his right, that is, his partner, and then to the
lady on his left. The ladies all return the bow, which is
executed quite quickly.

All join hands and circle to the left The whole square
with joined hands moves in a large circle to the left, walking
around in a clockwise direction. They usually get more than
halfway around when the next call comes.

Break and swing and promenade back At the word
"break," hands are dropped all around, and each man takes
his partner in a modified dance position, her right hand
extended in his left, her left hand on his shoulder, and his
right arm around her waist. Where this differs from the
standard dance position is that instead of standing face to
face, the couples often stand right hip touching right hip, the
man's right arm having to pass across the front of his lady
and his wrist around her waist. The lady, with her hip
braced against her partner, throws her shoulders back away
from him in order to take advantage of the centrifugal force
of the swing. With short steps the couple swings completely
around twice in a "right about face" or clockwise direction.

1. Honors right!

2. Honors left!

AN INTRODUCTION

3. All join hands and circle to the left.

4. Break and swing!

AN INTRODUCTION

5. And promenade

6. Home.

AN INTRODUCTION

62 COWBOY DANCES

Figure after figure in square dancing calls for this
"swing" which is always done as above, and must be under
stood and mastered, if so easy a maneuver can be said to be
"mastered/ 5 before one goes on with the dance. It is usually
customary to make two complete revolutions when the
"swing" is called for, but in some dizzy figures one revolu
tion will be quite enough.

As soon as they have "swung," each couple promenades
back "home," or back to the position they were originally
standing in. They march two-by-two ; that is, side by side,
with the lady on the right side of the gentleman, and holding
hands with the arms crossed in front of them as in the
customary pair skating position ; that is, the man holds the
lady's left hand in his left hand and her right hand in his
right with his right arm across above or in front of her
left. (In skating it is usually crossed under the lady's the
better to support her, but in dancing it is always crossed
above.)

The promenade is always to the right, or counterclock
wise. It occurs again and again throughout the figure of the
dance, and the right-hand direction must become a habit.

Other introductory figures are used, but we can teach
them with later dances. This Honors right and honors left
is by far the commonest and is, therefore, the best to begin
with.

After executing it the couples are back just where they
started from, all facing the center as at the beginning, and
ready for the dance proper to begin.

One of the easiest dances to start beginners with I have
found to be :

Form a Star with the Right Hand Cross

This is in typical square formation with first couple
visiting around to each of the others in turn, beginning with
the second couple, going on to the third, and finishing with
the fourth. Then the second couple visits around the square
repeating the same figure in turn with each of the others,
the third, the fourth, and lastly the first couple. Then the
third and fourth couples each visit around the square in the
same manner. While the first and second couples are doing
the figure, the third and fourth couples merely stand and
await their turn. In this type of square there are always

A SIMPLE SQUARE 63

two couples in action and two couples awaiting their turns.
Of course, with experts the two odd couples may get in
action too, just to make it more fun, but they have to scamper
to be back in position in time to receive the visiting couple.
And it is unwise for beginners to try this.

The simple figure used around the square in this dance
is called:

First couple out to the couple on the right,
Form a star with the right hand cross.
Back with the left and don't get lost.
Sluing your opposite with your right,
Noiv your partner with your left,
And on to the next.

The first couple simply walks over and faces the second
couple. All four dancers grasp right hands at about the
level of their heads, thus forming a star, and holding hands
they march around to the left, or in a clockwise direction,
until the next phrase of the call is given. They then let go
their holds and each swings in toward the others (a right-
face turn) and they grasp all four left hands at their head
level and circle back to the right or in a counterclockwise
direction.

On the last part of the call they let go each other's hands,
and each man takes the opposite lady's right hand in his
right and swings her completely around behind him. This
brings them all into position so each man can then take his
partner's left hand in his left and swing her around.

The second couple swings back into position and stands
as they were at the beginning, while the first couple swings
around and faces the third couple, with whom they repeat
the whole figure, as the call is repeated for them.

The caller must be careful of his timing. It is best to
allow just enough time in the Right hand cross for them all
to take about four steps in this direction, then to reverse
them with the Left hand cross, allowing time for only about
four steps in this direction. Then let the opposites and the
partners swing. In fact, it all times up with the music best
if four or eight counts are allowed for each part of the
figure.

As soon as the first couple reaches the third couple the
caller must repeat the call again, and then again for the
fourth couple. At the conclusion of this figure instead of

64 COWBOY DANCES

calling On to the next, he usually says, Balance home and
everybody siving.

At most dances and in most sets this balance home simply
means go home or back to position. But with the more ex
perienced dancers they not only go home, but separating
from each other in a half curtsy they come together for the
swing. At the same time the three other couples in the set
balance and swing, that is, face each other and each takes
four steps backward and then four steps forward to his
partner and then they swing. It makes a graceful and
finished maneuver in the set. For the siving, of course, all
four couples take the modified dance position and swing
around twice in place. He then calls :

Turn the left hand lady
With your left hand
Then right hand to partner
And right and left grand.

This is the same movement they learned in the Circle
Two-Step. When they have all done the serpentine right and
left and have again reached their partners he calls :

Take your partner
And promenade home.

Or, which means the same thing, he may call :

Promenade eight
When you come straight.

And each man taking the promenade position with his
girl on his right walks counterclockwise around the square
and back to his original place.

Before going on with the dance and sending the second
couple around the square with the same figure, it is usually
found necessary for the caller to straighten out some of the
sets who have got badly mixed up. And it is best to take
time out until the beginners get their difficulty cleared up.

In spite of the fact that they learned to do the Allemande
left (or Swing the left-hand lady with your left hand) in the
Circle Two-Step, they often have difficulty executing it in a
square with only four couples. And I often find it helpful to
walk them through this figure slowly without music until
they get the idea fixed. Then too, some couples find it difficult

A SIMPLE SQUARE 65

to promenade back to their own positions, keeping their place
in their square while they do so. Some couples, lacking a
strong geometric sense, loiter or wander off into other
squares or out around the hall or simply stand bewildered,
while other couples "cut-the-pie" and get the square all
mixed up. A few minutes taken to w r alk them slowly through
the whole Allemande and Right and left to the Promenade is
time well spent w r ith beginners.

Another difficulty arises from the failure of the first
gentleman to have his lady on his right when they present
themselves to the third couple. If the lady is on the left side
of him, it will put two ladies on one side of the Right hand
star and two gentlemen on the other side. This will make
the swinging of the opposites with the right hands very
difficult and confused. The two ladies should be opposite
each other and the two gentlemen opposite each other in the
star. And this can be accomplished only if the lady is on her
gentleman's right side as they approach the new couple.

As soon as all the difficulties are straightened out the
music can begin again and the dance continue, going on
where you left off and, of course, not repeating the In
troduction. The call continues:

Second couple out

To the couple on the right,

Form a star with the right hand cross, etc.

With an on to the next and an on to the next and then a bal
ance and everybody swing the dance continues. Again they
all do an Allemande left and a Grand right and left and a
Promenade to places.

Then it is all repeated for the third couple around, and
after another Grand right and left it is again repeated for
the fourth couple all the way around. After the final prome
nade, the call is often given :

Promenade, you know where.
And I don't care.
Take your honey
To a nice soft chair.

And that set is over.

Since the call for the figure has to be repeated until it has
been given twelve times, it is customary to alter it now and

66 COWBOY DANCES

then for the sake of variety. Instead of Form a star with
the right hand cross you may call :

Star by the right
And how do you do?
Back with the left
And how are you?

Or I have heard it called :

Right hands crossed
And hoiv do you do ?
Back ivith the left
And how are you?

All of which means exactly the same thing, and only adds
variety to the calling. Another very easy square to execute
with beginners is :

Forward Six and Fall Back Six

The same introduction can be used as in the previous
dance, or you can call:

All jump up and never come down.
Swing your honey around and around
'Till the hollow of your foot
Makes a hole in the ground.
And promenade, boys, promenade!

Which means only that each couple shall jump up into
the air and then swing each other around and around until
the call is finished and they are told to promenade, when
with the regular promenade position they walk once around
the square to the right, or counterclockwise, until they come
back to their regular position, where they stand until the
caller puts them in action.

In the first part of the call proper it must be explained
that as always in square dancing the instructions are for
the men, the women having always to do the complementary
or corresponding thing to the movement of the men.

The call starts with :

A SIMPLE SQUARE 67

First couple out to the couple on the right (a)

A?id circle four;

Leave that girl, go on to the next (b)

And circle three;

Take that girl and go on to the next (c)

And circle four;

Leave that girl and go home alone. (d)

Though it sounds a little complicated, it is very simple
to execute, (a) The first couple moves over to the right and
faces the second couple. All four join hands and circle to the
left, or clockwise. As they come around to the full circle (b)
the first man lets go with both hands and moves on alone to
the third couple. This leaves his lady standing with the
second couple, still holding the second man's left hand with
her right hand. The three stand in a straight row, with the
second man in the middle between the two ladies.

The first man, having gone on to the third couple, joins
hands with them, and the three circle once around to the left,
(c) The first man and the third lady now break their hold
with the third man and leave him standing alone, while they
both go on to the fourth couple. As they advance to the
fourth couple, and this is very important, the first man
changes the lady from his left hand to his right hand, so
she will be on his right side. (Remember that always when
a couple approaches another, the ladies must stand on the
right side of the men.) All four (the fourth couple, the third
lady, and the first man) join hands and circle to the left
once around, (d) Then the first man lets go his hold, and
returns to his first position goes home alone. This leaves
the third lady standing to the left of the fourth couple, the
three of them in a row.

This is simply a maneuver to move the first lady over to
stand in a row of three, while the third lady stands with the
fourth couple in a row of three directly opposite them.
The first and third men stand opposite each other and alone.

The call continues :

Forward six and fall back six; (a)

Forward two and fall back two; (b)

Forward six and pass right through; (c)

Forward two and pass right through. (d)

On the call Forward six, or (a) each row of three on
either side takes four steps forward toward the other, then

68 COWBOY DANCES

four steps back, still facing each other, into place. As they
are falling back the call should be so timed that (b) the two
lone men start forward four steps. Then as they fall back
to place with four more steps, (c) the six (the two side
threes) should be moving forward and pass through each
other's formation to the opposite side, (d) The two lone
men then pass each other and also trade places.

In dancing, it is always customary to pass to the left as
they do in English traffic, instead of to the right as they do
in modern American traffic. To get a group of beginners
in the habit of always passing to the left it is well to advise
them to take right hands with the opposite person as they
pass. This will assure them of passing correctly to the left.
If some pass left while others pass right, the collision and
confusion ruins the dance. So take time to teach them
always to pass left by touching right hands while passing.

Our figure is now just as it was, except that everyone
has traded places with his opposite and is left standing
on the wrong side. The last call, therefore, has to be re
peated to put them right.

Forward six and fall back six;
Forward two and fall back two;
Forward six and pass right through;
Forward two and pass right through.

Then continue with :

Swing on the corner (a)

Like swinging on the gate t

And now your oivn (b)

// you're not too late.

Now allemande left (c)

With your left hand

And right to your partner

And right and left grand.

And promenade eight

When you come straight.

Remember that each man's corner, or his corner lady,
is the lady on his left. So to come out of his figure of sym
metrical three's and one's, each man (a) swings the girl on
his left. Then (b) he swings his own partner, or the girl
on his right.

A SIMPLE SQUARE 69

Then (c) they go directly from this swing into the
Allemande left and Grand right and left, as in the previous
dance. They then promenade back to their places.

The whole dance is repeated for the second couple, be
ginning the call with :

Second couple out

To the couple on the right

And circle four.

And after a promenade it is all repeated for the third
couple, and finally for the fourth.

After the fourth, or final promenade, you can again call :

You knoiv where
And I don't care.
Take your honey
To a nice soft chair.

With this the dance is over, and they are all pleased
because the dance is so simple and symmetrical and such
good fun. If the caller times it right it keeps them moving
back and forth through each other with a fascinating sort
of routine.

(Note: If any difficulty is encountered with the above
explanations, it might be well to turn to pages 167 and 258
for the regular line by line explanations in the second part
of the book.)

Chapter 4

r

V

The
Round,
Dances

IT WAS the custom at the old-time dances to form the sets
for a square and while the sets were on the floor to dance
through two complete dances or tips. Then a round dance
would be played. And it in turn would be followed by the
two tips of another square.

The round dances were couple dances, the couples free
moving over the floor as in the modern ballroom dance. But
our grandmothers' couple dances were always special dances
such as the polka, the schottische, or the varsouvianna, or
mazurka.

In the barn dances of today, or the so-called old-time
dances of today, the same custom usually prevails of two
squares and then a round dance repeating through the eve
ning. But the round dance today is usually a one-step, or
fox trot, or some modern dance. Only occasionally do they
put in a real old-time round dance. The modern ''old-time
dance" which we see advertised is often a transition and
shows signs of breaking down into a completely modern-
time dance, with perhaps one or two squares dragged into
the evening. When such a group as that to which this book
is addressed sets out to play with the genuine old-time
dance, nothing but the old-time round dances should appear
on the program. The modern should be completely taboo.
Alternate your evenings if you will, one being completely
modern and one completely old-time. Do not alternate the
two in the program of any one evening.

Even if you are teaching a group of beginners, the round
dances must be introduced early in the evening, perhaps
only one or two of them the first evening, repeating each
later in the program to make sure it is well learned. But
the variety introduced by the round dances is essential to

THE ROUND DANCES 71

a successful party. So it will be well before describing more
squares to treat the commonest of the old-time round dances
at this point, starting with the easiest. If the group gets
so good that they later want a larger selection, you can turn
to such a book as Henry Ford's Good Morning where these
dances are completely described. But we shall limit our
selves now to those dances that are common in the West.

The Rye Waltz

This is the easiest of all of the round dances to teach and
to execute. The couples take the regular dance position;
that is, the man holding the lady's right hand in his extended
left and his right arm around her waist while her left hand
rests on his shoulder. The music is the old familiar Scotch
tune "Comin' Thru The Rye." The first four bars are played
rather fast in their regular 4/4 time. The last four bars are
changed and slowed down so that each beat is modified to the
3/4 time of waltz rhythm, except the fourth or last bar
which is left unchanged in its original 4/4 time ; that is, the
last four bars where the words begin "Ilka lassie has her
laddie" become 12 bars of 3/4 time and one final and fast
bar of 4/4 time. Then it is all repeated as many times as
desired.

We shall describe the dance for the man, the woman, of
course, using always the opposite foot in the opposite direc
tion. Incidentally this Western arrangement is somewhat
different from the Rye Waltz as danced in the East.

On the first bar of the music, the man keeping his weight
on his right foot extends his left foot out to the side and
lightly touches the floor with his left toe. On the second beat
he closes his left foot back to his right. On the third beat
he extends and points his left foot again to the side and on
the fourth closes it again to his right. Then he sashays to
the left for the four beats of the second bar. That is, he
steps left and closes his right to his left, again he steps left
and closes his right to his left, and then steps left and shifts
his weight to the left, with a step-close-step-close-step
rhythm. Then during the next two bars of the music, the
whole thing is repeated to the right; that is, with his weight
shifted on to his left foot he points right, closes his right to
his left, points right again, closes again and then sashays to
the right with a step-close-step-close-step.

72 COWBOY DANCES

Then the music changes to a slow 3/4 time, and the
couple waltzes around the room for twelve bars of the music.
For what would be the last four bars of the waltz section,
however, the music changes back to the snappy 4/4 time of
the original, and they hippety-hop again to the man's left
with a step-close-step-close-step.

The whole routine is repeated as many times as desired,
the music playing over and over and over again. (At some
old-time dances you wonder if it will ever end.)

As one gets used to the step he will find himself dipping
slightly in the first part with his right knee as he extends
and closes his left foot away from and to his right. And he
will find it natural to want to make the return a little longer
swing and put his left foot behind or in front of his right
instead of merely closing to the side of it. It is customary
in this case to cross it first behind and the next time in
front. So the left foot points to the side, then crosses behind
the right, points to the side, and then crosses in front of the
left then the sashay. The lady, of course, does just the
opposite, pointing right, crossing in front, pointing right,
and then crossing behind.

A variation called the Scotch is sometimes introduced to
add a bit of fun. The dance is just the same except that the
dancers hop like a Scotch reel throughout the first part. That
is, instead of standing on the right and pointing with the
left foot, they hop on the right while they point with the
left, and hop again on the right while they close with the
left making the whole thing very bouncy and jolly.

We found another delightful variation current in the
North Park of Colorado. Here instead of the point close,
point close of the first four beats, they walk together to the
left for three steps and close on the fourth; that is, still
maintaining their regular dance position, they face slightly
toward their extended hands (the man's left) , and starting
with the outside feet take three steps and close. The man
walks left, right, left, and closes his right to his left, and the
lady does just the opposite. Then they do the sashay, or
slide close, to the right in the regular form. Now they walk
three steps and close to the man's right and the lady's left.
Then they slide-close back to the left in the regular form and
follow it all with the customary waltz.

It is a pleasant and amusing variation and can be quite
graceful, especially when they walk to the right, looking

THE ROUND DANCES 73

over their closed arms and moving with a long, gliding step,
they can achieve quite a Spanish, tangolike grace.

The young dancers at our school have invented a wild
variation all their own with which they amuse themselves
mightily. They walk to the left three steps in the North
Park way, but instead of closing their feet together on the
fourth bar they pivot on their outside feet (the man's left,
the lady's right) , and do a complete revolution away from
each other, coming together just in time for the sashay.
They finish their walk in the other direction with another
furious pivot preceding the sashay. And at the close of the
waltz they do two complete revolutions away from each
other in place of the slide-close sashay. They end with a
deep bow if they get around in time. But this is just for fun
and most decidedly is not an authentic variation of the
Rye Waltz.

The Schottische

This is a delightful round dance, delightful both to do
and to watch. The music can be found in the Pioneer Collec
tion of Old-Time Dances referred to earlier. And Ford's
arrangement is the form we like best, with three parts each
with a full repeat.

In the usual form the dancers stand side by side, the
man's right arm around the lady's waist, and the lady's left
hand on the man's shoulder. Starting with the outside feet
(the man's left and the lady's right), they take three light
running steps and then hop as they swing their inside feet
up and forward. Then starting with the inside feet (the
man's right and the lady's left) they take three running
steps and a hop while they swing their outside feet up and
forward. Then, facing each other, the man takes the lady's
right hand in his left, which puts them now in the regular
dance position, and in this position they take four step-hops
(beginning with the man's left and the lady's right foot)
while they rotate once around to the man's right. The com
plete pivot leaves them facing forward again, and they let
go hands and face forward, retaining only the waist-
shoulder position, and repeat the whole thing.

To describe with more detail it may be best to note
carefully the man's part, understanding that the woman
uses always the opposite foot and the corresponding motion.

76 COWBOY DANCES

The man standing with his partner on his right and
holding her in a waist-shoulder position takes three light
running steps forward, left, right, left, and then hops on
his left foot while he swings his right foot up and forward.
Then he runs again, right, left, right, and hops on his right
while he swings his left foot forward. Now taking his
partner's right hand in his left, he assumes the regular
dance position and steps on his left and hops on his left,
then steps right and hops with his right, and then repeats
with a left and hop and a right and hop, all the time pivoting
around in a right-face position. During the four hops he
should have made a complete revolution and should be fac
ing forward again. He lets go his partner's right hand,
turns away from her so they are again side by side, and
repeats the dance again as many times as desired. It often
helps if the caller directs the men in their steps by calling
left-right-left-swing ; right-left-right-swing ; left-hop ; right-
hop; left-hop; right-hop.

At most of the old-time dances I go to they do this over
and over interminably at a rather slow tempo until I marvel
at how they can keep it up. Occasionally some older couple
will show some variation such as both stepping to the left
with their left feet in the first part of the dance and hop
ping on their left feet while they swing their right feet up
across and in front of their left. Then they step right and
hop right while they swing their left feet across to the right.
Repeating this again to each side, they are ready for the
closed or dance position and do the step-hop while they
rotate with the others. Or occasionally instead of the step-
hop in the second part, they do a little modified, rather open
two-step. The regular two-step, you will remember, is to
step on the left on the first beat of the music and close the
right to the left and quickly step again on the left to the
second beat of the music, then do the same to the right, and
so on. They do not quite close, however, in their modified
two-step, but step left on the first beat and then step quickly
and lightly on the right and immediately with the left again
on the second beat. So, instead of a left-hop, right-hop, they
do a left-right-left, right-left-right

Even with these variations the dance is still apt to be
a little monotonous, especially since either the two-step or
the hop calls for a complete rotation always in the same
direction with a consequent dizziness. And it is always

THE ROUND DANCES 77

quite slow. When I Increase the tempo at the urgent request
of my young people, the old-timers all cry out against it and
say it is not the schottische until I sometimes wonder if
it is not their age rather than their memory that keeps the
tempo so slow, and if perhaps the young people even in the
old times did not always prefer, and usually get, a little
speed.

We were delighted when the daughter of one of the
pioneer women showed us how her mother used to dance the
schottische over on the western slope of the Colorado
Rockies back in the eighties. And since her dance is in three
parts with each part repeated just as the music is arranged,
I believe it to be the true form, and we have adopted it as
our standard form of the schottische. We have since had
several old-timers confirm it as the original form. It offers
enough variety to be great fun to do.

The first part is exactly as described above in our first
description of the dance. It is repeated once as the music is
repeated. Then the second part changes for the second part
of the music as follows: Still holding the same waist-
shoulder position, the dancers take the two sets of little
running steps just as in the first part, left-right-left swing,
right-left-right-swing, but instead of closing together in the
familiar dance position and hopping together around to the
right, they completely let go of each other, and turning away
from each other, each hops independently, the man hopping
on his left foot and turning in a left-face direction, and the
woman hopping on her right foot in a right-face direction.
On the first hop they turn away and are back to back, on the
second hop (on the other foot, of course) they turn to
gether and are face to face, on the third hop they turn back
to back again, and on the fourth hop they finish face to
face, and continue on until they are side by side in the
waist-shoulder position and are running forward again on
the repetition of this second part of the dance.

The third part of the dance starts with the run exactly
as the other two parts, but instead of the second half of the
run, the partners let go of each other, and while doing the
second part of the run, they turn completely away from
each other in one position, making a complete revolution.
As they turn back together they resume the waist-shoulder
position and instead of hopping they rock forward and back
on alternate feet.

78 COWBOY DANCES

The whole step of this third part for the man (with the
lady, as usual, doing the complementary or opposite step)
is run left, right, left, and hop left as he swings his right
foot forward, break hold with partner and with shorter steps
in position walk right, left, right, hop while he turns left
about face. Then side by side again and resuming the
waist-shoulder position he rocks forward on his left foot
and lifts his heel slightly instead of a hop, rocks backward
on his right foot and again rises on his toe, rocks forward
on his left and rises, rocks back on his right with a rise. He
then repeats the third part.

As the music turns back to the first part, he starts at the
beginning and repeats the w r hole dance as many times as
desired.

The Varsouvianna

Perhaps the most graceful and most delightful of all
the round dances is the Varsovienne. It originated in War
saw, Poland, and from that city, with a few accidents of
orthography, it took its name The dance spread all over
Europe and took on different national characteristics. It
moved on to our West, its name corrupted to Varsouvianna,
and is a regular feature of our old-time dances. (So easy is
oral corruption, I have even heard it unsmilingly called the
"Varsity Anna.") It has its own special music, which can
also be found in the Pioneer Collection of Old-Time Dances.
Here it is called Ford's Varsovienne. For a real Western
dance you should skip the first thirty-two bars of this music
for it has been completely lost, and I have never heard it
played in the West. Beginning with the thirty-third bar it
is our authentic music. To be sure, since it is traditional
with our fiddlers you can expect a little variation now and
then from this printed score.

There are sixteen bars of this old standard Varsouvianna
tune in the West. Our oldest pioneers tell me that these
sixteen bars were always repeated once. Then there came
sixteen bars of special waltz, which certainly improves the
dance and keeps it from growing monotonous. And in the
musical arrangement just mentioned (Pioneer Collection
of Old-Time Dances) the following sixteen bars are the
standard form used for this waltz. But when I tried to get
one of my fiddler friends to play it so for me, with complete

THE ROUND DANCES 79

scorn for all "note-readers" he said he could not play that
tune and broke into "Where, oh where is my little dog gone"
in perfect waltz time, and it served just as well. He likes the
waltz and now he always trots the little dog out and makes
them waltz whenever he plays the Varsouvianna.

In the printed score the last variation following the
waltz is perfectly authentic and is often heard in the West.
It should be used for the second Varsouvianna step. But
the first thirty-two measures of the printed score should
best be omitted altogether.

This lovely dance is coming back in Western society.
For several years they have been dancing it w r ith a Spanish
tempo in the ballroom of La Fonda, the leading hotel in
Santa Fe. And in many of society's dances in Denver it is
being introduced as a special number, though it is danced
in its simplest form, over and over, and without the graceful
relief of the waltz.

This simple standard form is danced as follows; the
couple stands side by side, the man a little behind his lady.
He holds her left hand in his left, shoulder high, and reach
ing across her right shoulder he holds her raised right hand
lightly in his right. The two keep in step with each other,
for the present. Later they will use opposite feet.

With their weight on their left feet they stand with their
right toes pointed forward and touching the floor to the
right. On the first note of the music (an introductory note,
the third beat of the previous bar) they each sweep the right
foot back over the left instep, dipping the left knee slightly
as they do so. On the next count (the first beat of the new
bar) they point the right foot out to the right front, again
touching the floor with the toe, and on the next count step
in behind the right with the left foot. Then they each repeat
with the same feet (the right) to the same side, sweep, point,
step. The third time they again sweep back with the right,
point with the right, and step with the left. (But instead of
stepping in close behind the right with the left they this time
step to the left side with the left foot.) On the next count
they close the right foot in behind the left, and on the next
count point the left foot, the toe touching the floor, out to
the front and to the left. That is, they both make a cross
over to the left. And as they do this left step-cross-point
the lady takes fairly long steps while the man takes very
short steps and passes his partner over in front of him

86 COWBOY DANCES

from his right side to his left side so that when they point
with the left foot she is standing on his left, his left hand
over her left shoulder and holding her left, while his right
hand holds her right hand out to the right of her right
shoulder.

This may sound a trifle complicated, but is really very
easy to do with the music, as the lovely old melody almost
directs you to cross over and point to the left.

As the musical phrase repeats itself on a lower note,
they repeat the whole thing beginning with the left and
crossing to the right. That is, they sweep back with the left,
point with the left and step with the right. Again to the left
they sweep-point-step. Then again they sweep left, point
left, and step out right with the right, cross with the left as
the lady crosses over in front of the gentleman, and finish
again pointing with the right.

Then the melody changes a little and directs them to cross
back and forth twice, with the same cross-over step as the
last half of the preceding; that is, they sweep back right,
point right, step left, cross with the right, and point with
the left; then (2) sweep left, point left, step right and cross
left, and point right; then (3) sweep right, point right,
step left, cross right, and point left; and (4) sweep left,
point left, step right, cross left, and point right. The cross
ing foot always steps in behind the stationary foot.

Now this whole figure repeats itself as many times as
desired. It is much pleasanter, however, to repeat it only
once and then swing into sixteen measures of waltz before
repeating it two more times, and so on.

I usually teach this step to a group by calling with the
music :

Sweep, point, step,

Sweep, point, step,

Sweep, point, step, cross, point.

Sweep, point, step,

Sweep, point, step,

Sweep, point, step, cross, point;

Siveep, point, step, cross, point;
Sweep, point, step, cross, point;
Siveep, point, step, cross, point;
Siveep, point, step, cross, point.

THE ROUND DANCES 87

Some teachers have them rise on the toe of the left foot as
they sweep back with the right, then point with the right
and close with the left. Although this is an accepted form,
I think it a bit prettier to dip slightly with the left knee
while sweeping the right foot back rather than to show much
of a rise on the left toe. Or, if you want the movement very
pronounced, you will direct them to use the old custom of
hopping on the left while they sw r eep back with the right.
And it is so instinctive for some people to put in this hop that
they are apt to do it without your suggestion. But it is too
jerky with a beginner, and I think it best to discourage the
hop.

And that, over and over again, is all there is to the
Varsouvianna as you find it at most of our dances. Once in a
while you may see a couple do a turn back instead of a
cross-over. That is, on the sweep-point-step-cross-point, in
stead of having the lady cross over in front of the man and
get on his left side, she takes these short steps in position
doing a rightabout-face as she does so, the man likewise
doing a rightabout-face. This leaves them both facing di
rectly backward and the lady now, of course, on the left of
the man with his left arm over her shoulder. Then a left-
about faces them forward and puts her on the right side, and
so instead of crossing over she turns forward and back, and
it proves a very graceful variation.

Using essentially the same steps, the different nations
have developed a great variety of positions and styles. The
Mexicans have the loveliest variations that I have seen.
They carry through the step not only in the standard posi
tion, but in the regular dance position, in a back-to-back
position, in a grand circle, and even in a grand right and left
which is most delightful. And they do it all as a figure, with
three couples working in and out from the points of a
triangle.

Perhaps it was their influence, or a European influence,
but in any case the oldest pioneers tell me that it used
always to be danced here in the West in a variety of posi
tions and each alternating with the waltz.

Miss Mary Kelleher, who gave me the three-part varia
tion of the Schottische, has given me this arrangement,
which in turn was brought by her mother from the western
slope of Colorado where she danced it in the early days. It
is the form we like best and that we always dance.

88 COWBOY DANCES

The first part is the same as the dance described above
except that the partners use opposite feet, always pointing
with the outside foot or the foot farthest from the partner.
This makes it much more graceful and symmetrical, and is
just as easy to execute as when the partners use the same
foot and keep it, as it were, in step with each other.

To be more specific, the man sweeps back and points with
his left foot while the lady sweeps back and points with her
right. This lets them each point out and away from the
other, making a most delightful position for the onlookers.
On the cross-over she steps left and then points left while he
steps right and points right, which makes the cross-over
easier and much more natural. This greater ease makes me
think that this is the original and correct position for the
dance and that the other form is a corruption introduced
because it was easier to teach beginners if you let them all
keep in step with their teacher and with each other. In this
older form it becomes natural for each "point" to be away
from your partner, adding considerable grace to the dance.
After repeating this first part once, all the couples go into
sixteen measures of waltz.

In the second part the couples take the regular dance
position; that is, with the lady's right hand resting in the
gentleman's extended left hand and her left on his shoulder
while his right encircles her waist. The first steps are the
same as before, the gentleman sweeping back and pointing
with his left foot, the lady with her right, and both looking
and pointing in the direction of their extended arms. Since
they are face to face, their two feet are almost together in
the point, and their extended arms above the pointing feet.
Instead of the cross-over they both walk with three short
steps in the direction of their extended arms and then,
turning together, point backward, the gentleman with his
right and the lady with her left foot, and look back over
their enclosing arms toward their pointing feet. Still look
ing backward, they repeat the movement, this time the
gentleman sweeping and pointing with his right foot and the
lady with her left, and then with three short walking steps in
this backward direction they turn together and both point
front again, or in the direction of their extended arms.

THE ROUND DANCES 89

Now instead of the four cross-over steps back and forth,
still in the dance position they take short steps in place,
rotating half around to the right and pointing with the
right. That is, each does a "right face" turn. Then they
rotate back to the left and point again. Once more they
rotate right and point, and then they return to the left and
point, the lady always pointing with the opposite foot from
the gentleman. This whole figure is repeated and again they
waltz.

In the last figure they take an open position, side by side,
the gentleman's right arm around the lady's waist and her
left arm on his right shoulder, their outside arms hanging
naturally at their sides. The first part of the step is the same
except they move much more definitely forward and instead
of the cross-over they turn together, letting go their waist
and shoulder hold, and face each other and turn completely
backward, taking a new hold this time with the gentleman's
left arm around the lady's waist and her right hand on his
shoulder, and they finish this measure pointing backward.
The next measure in this reversed position, of course, carries
them back where they started, and in place of the cross
over they turn together again, breaking holds, face forward
taking their original hold and again finish by pointing
forward.

They could, of course, repeat this turning back and front
a couple of times in the last part, and they actually do. But
instead of turning together to accomplish this, they turn
away from each other, and, each pivoting around, they meet
facing backward and both point. Then turning away from
each other they turn until they face forward and point
again ; then away from each other and point backward, and
a-way from each other and point forward again for the
finish. They cannot hold on to each other at all in this last
part, but the hands swing freely and usually come almost
together over the pointing feet. The whole movement is
flirtatious and graceful in the extreme. After repeating this
whole last part they waltz again. And then the whole dance
with all of its parts is repeated as many times as desired.

In teaching this last part it pays to use a "call" at first,
as follows :

90 COWBOY DANCES

Sweep, point, step.

Sweep, point, step,

Turn together and point back,

Sweep, point, step,

S^veep, point, step,

Turn together and point front.

Turn back to back, point back,

Turn back to back, point front,

Turn back to back, point back,

Turn back to back, point front.

The rhythm of this call is a little tricky, but with prac
tice it works, and without it beginners turn in wild con
fusion and get all mixed up,

The Polka

Another old-time round dance that is regularly used in
the West is the polka which is often called the "pokey" in
cowboy parlance, perhaps from the square dance figure
"Three by three in the pokey oh, three by three and on we
go." If one traces back through the New England and
European varieties of the polka he can get into deep water
in a discussion of just what the polka is. But the Western
dance by that name is extremely simple.

The couple stands side by side, either in the waist-
shoulder position with the man's right arm around the lady's
waist and her left hand on his shoulder, or in the cross-
shoulder position, as in the Varsouvianna, where the man
holds the lady's left hand in his left at the height of her
shoulder and, crossing his right hand behind and over her
right shoulder, holds her lifted right hand lightly in this
position.

The music is Jenny Lind's Favorite Polka, which can
be found in the Pioneer Collection of Old-Time Dances above
referred to. In the West I have only heard the first sixteen
measures, which are repeated over and over. The last
twenty-four measures are never used.

The usual form of the dance is for each partner to stand
with his weight on his left foot, and reaching forward with

THE ROUND DANCES 91

the right foot, to touch the right toe to the floor well in
front of him, on the first count. Then bring the right
foot back and touch the toe to the floor close beside the
left foot on the second count. They then step forward on
the right, close left to right, step right, and rise on the toe
of the right foot for the next measure counting one-cmd-two-
and. Then step forward on the left, close right, step left,
and rise for the next measure; then step right, close left,
step right and rise for the fourth measure. Then repeat the
whole movement beginning with the left foot. That is, point
forward with the left, count one-and and point back on the
count two-and. Then left, right, left, rise; right, left, right,
rise ; left, right, left, rise. The whole thing can be repeated,
first beginning right and then beginning left, over and over
again, point front, point back and then advance straight
forward with three sets of polka steps then repeat. Most
of the old-timers, in fact, do it interminably with no varia
tion whatever.

In the regular polka step some of our dancers on the
count one-and, two-and, simply take three steps and a rest on
the second and, that is, left, right, left, rest, then right, left,
right, rest, instead of left, right, left, rise. They rest the
last half of the beat instead of rising. As a matter of fact
this rise is not on a beat or even a half beat but is really
slipped in as a grace note just before the step of the first
beat of the next measure. Many people use a hop instead of
a rise, and historically it is perhaps the more correct. But
this hop also should be a grace note slipped in before the
beat, rather than a hop on the beat itself. Now and then we
find a dancer who has the subtle trick of it. But on a
Western dance floor the great majority either hop, or rise,
or rest, but always right square on the count. And, I
imagine, it is more forthright and appropriate for a heavy
cowboy boot. So take your choice.

Once in a while a couple will be seen doing the Heel and
Toe Polka, although it is quite rare in the West. But it is
seen often enough to merit a detailed description. In the
Heel and Toe Polka the couples take the regular dance
position, with the lady's extended right hand held in the
man's left, and her left on his shoulder while his right

"^v

W
J
o

THE ROUND DANCES 93

encircles her waist. The man starts with his left foot, the
lady with her right. The dance for the man is as follows
(the lady, as usual, always using the opposite foot) : With
his weight on his right foot he touches his left heel to the
floor (his toe pointed upward) on the counts one-and, then
he touches his left toe to the floor close to his right foot on
the count tivo-and. He then steps left on one, closes with
his right on and, steps left again on two, and rests on and.
Then looking backward over his right shoulder he repeats
it all with his right foot heel, toe, slide, close, slide. Now
looking forward again to his left he repeats with the left
heel, toe, slide, close, slide. And, looking back, he does a
final heel, toe, slide, close, slide to the right. For the next
eight measures they do a regular polka, rotating slowly to
the right. It is simply a step, close, step, hop, first leading
with the left foot and then repeated with the right lead.
The polka is often done with a bouncy little light step
although it looks better to execute it smoothly, with the hop
merely a rise on the toe or a lifting of the heel, or a complete
rest can be used if the hop or rise are not enjoyed.

We were dancing once in Santa Fe, New Mexico, when
a charming little lady who, they told me, had been reared on
a cattle ranch near Las Vegas, protested that our Heel and
Toe Polka was all wrong. "You should do it on a dollar," she
cried. "We always boasted we could do it on a dollar!" So
I asked her to dance with me, and found that what she
wanted was the heel and toe as described in the last para
graph but instead of a slide-close-slide, she wanted a stamp-
stamp-stamp done in position. Then to the other side heel-
toe-stamp-stamp-stamp. All done without moving from one
spot, and repeated again in position. Then we scampered all
around the room in the eight bars of a regular polka.
"There," she said, "that's the way the boys on our ranch
always did it. That's the real polka."

The polka we like best is a sort of cross-over polka which
we saw danced by a group from Walsenburg, Colorado. The
first two parts were exactly like the regular polka, the part
ners side by side with the gentleman holding the lady's left
hand in his left and reaching his right hand over her
shoulder to hold her right hand shoulder high. They both

94 COWBOY DANCES

touched their right toe forward and then back and then did
three polka steps forward right, left, right, hop ; left, right,
left, hop ; right, left, right, hop. They then repeated all of
this beginning with the left foot. On the next movement the
man crossed the lady over and back twice as follows : First
touching the right toe forward and then back, they followed
by doing a cross-over step instead of a polka step. The
gentleman let go the lady's right hand and still holding her
by the left helped her turn in front of him with three steps,
he in the meantime taking his steps in a stationary position.
The lady was then on his left side, facing directly backward,
their four shoulders in a straight line and facing in oppo
site directions. They now each touched their left toe for
ward and back, but since they faced in opposite directions
this made a graceful position, with the left foot of each
almost touching that of the other. Now instead of a polka
step, the lady crossed back to place passing under the man's
left arm, and doing a left-face turn as she passed under.
She then stood again on his right side, and he reached over
her right shoulder and again took her right hand. They
touched right toes forward and back again and she again
crossed over to his left side, facing backward. Then touch
ing left toes forward and back, she crossed under his left
arm and passed back into place on his right side. Now the
whole dance was repeated as many times as desired.

The Waltz

The best of all round dances is the waltz. It is often
danced as a single number, and in our Western dancing is
even more often a part of one of the other round dances, and
appears in many squares such as the Waltz Quadrille.

In the great majority of cases it is danced incorrectly.
And the people who dance it incorrectly, alas, always insist
that they are waltzing. They are really doing a smooth two-
step to waltz time, a dance that is called the redowa. There
was a time when it was listed on the old dance programs
as such, but today its execution is hopelessly confused with
the waltz and it has claimed the name of the waltz. A
modern dance orchestra seldom plays a waltz. It is unpopu-

THE ROUND DANCES 95

lar on a modern program. And I believe this is only
because practically none of the moderns know how to waltz.
In the days of Strauss it was the favorite dance and was
done beautifully. It would still be a favorite, no other dance
would compare with it, if it were only danced correctly.

In the three beats of waltz time the true waltz is danced
step, step, close, while the redowa (or two-step in waltz
time) is danced step, close, step. The first is graceful and
beautiful while the other is a little jerky and unsatisfying.
Yet notice that it is all a matter of timing. In a series of
waltz steps, three bars for instance, it would be step, step,
close; step, step, close; step, step, close. And the two-step
or redowa would be the same thing on a different timing. It
is step, close, step ; step, close, step ; step, close, step. In each
case since there are two steps connected by a close; the
beginner simply cannot see the difference between them. But
in the waltz the first step is accented by holding it. It bor
rows nearly a quarter of a count from the next beat, and
this gives the fascinating grace which made is so over
whelmingly popular in the days of Strauss. But the step,
close, step somehow destroys this subtle rhythm and has
relegated the so-called waltz to a place among the antiques.

I have never tried to teach a group of beginners but that
one or two superior couples would dance away independently
from the instruction, blithely and proudly doing the two-step
or redowa. And when I called their attention to it they
indignantly insisted that they were waltzing. Only a matter
of timing made them wrong and yet this timing makes all
the difference in the world.

And so if you would learn the delights of the true waltz
you must take time and earnestly endeavor to overcome the
instinctive and incorrect redowa. It will repay you abund
antly in satisfaction.

Our grandfathers learned to waltz from a dancing mas
ter; and his commonest device in teaching them was
"waltzing in a square." It will pay you to master it. Either
chalk a square on the floor some twenty-two or twenty-four
inches on each side, or imagine such a square. Stand with
both feet together in the upper left-hand corner of the
square. As you count one, step back with your left foot to

96

COWBOY DANCES

the lower left-hand corner. As you count two, step back
and diagonally with your right foot to the lower right-hand
corner of the square. As you count three close your left

LEARNING TO WALTZ IN THE TRADITIONAL SQUARE
TWO MEASURES

First Bar of the Music
Count 1 Step straight back along the side of imaginary square with

the left foot.
Count 2 Step diagonally to the other back corner of the square with

the right foot.
Count 3 Close the left foot to the right foot.

Second Bar of the Music
Count 4 Step forward to the upper corner of the square with the

right foot.
Count 5 Step diagonally to the corner of the square from which you

started with the left foot.
Count 6 Close the right foot to the left foot.
Repeat this over and over until the waltz step becomes instinctive.

foot to your right so they are both together in the lower
right corner. Now on the second measure count one again
and step forward with your right foot to the upper right-
hand corner of the square; count two and step diagonally
forward with your left foot to the upper left, and as you
count three close your right foot to your left, and you will
again be standing with both feet together in the upper left-
hand corner of the square. Now repeat this slowly with the

THE ROUND DANCES 97

count until your feet move Instinctively. Then with the
music repeat it again and again. It is simply an exaggerated
waltz, first back on the left and then forward on the right,
and thus around and around inside our practice square.

As soon as one becomes familiar with the step, he should
accent the first step by holding it a little longer, even while
dancing in his square, and thus establish the subtle rhythm
of the waltz. He can take his partner in his arms in the
regular dance position, and they can both dance in the prac-

PUESUIT WALTZ OR WALTZING STRAIGHT AHEAD
TWO MEASURES

First Bar of Music
Count 1 Step forward on right foot.
Count 2 Take second step on beyond with left foot.
Count 3 Close right foot to side of left foot.

Second Bar of Music
Count 4 Step forward with left foot.
Count 5 Step on beyond with right foot.
Count 6 Close left foot to side of right foot.

Repeat over and over indefinitely.

To reverse take steps backward in reverse order.

tice square, she starting forward on her right as he goes
back on his left, arid she going back on her left as he steps
forward on his right.

Once the waltz rhythm is established, most experienced
dancers can carry on turning and pivoting naturally in a
true waltz anywhere over the floor. But less experienced
dancers will find it well to practice a forward step after
they master the square. Moving in a straight line to music,
they step forward on the right, then forward on the left, and
then close the right to the left; then forward on the left, and
forward on the right, and close the left to the right. Keep
on moving forward with a left, right, close; right, left, close;
etc., until the end of the hall is reached. Then for practice

98 COWBOY DANCES

return by moving backward. Step back with the left, then
back with the right, then close the left to the right. Con
tinue backward with a right, left, close; left, right, close;
etc., until back in position. Couples, of course, can practice
this together in the regular dance position, the lady moving
backward while the gentleman moves forward and return
ing vice-versa. In this pursuit or forward step it often
helps to go around the square a couple of times and then
start forward.

If this much is mastered the turn will probably come
instinctively : but the old dancing masters had a device for
teaching the turn that is quite enlightening and a surprising
amount of fun to do. If you would like to try it, chalk a
larger square on the floor, forty or more inches on each side,
and with your chalk draw a diagonal in each corner chop
ping off about eight or nine inches of the corner. And when
you are directed to step in a corner of the square you step
along the side only as close as this diagonal, or truncation,
will permit.

Begin this time by standing with both feet together in the
upper left-hand corner and with both heels against the top
line facing the center of the square. As you count one, step
your right foot forward to the left side with the toe touching
the left line immediately next to this upper left diagonal.
On count two, step with your left foot so your left toe
touches the left line immediately adjacent to the lower
diagonal line (this, of course, leaves your back to the middle
of the square), and on the third count, close your right foot
to your left, leaving both feet together toeing the left side
line next to the bottom diagonal. On the next count one,
step with your left foot along the lower diagonal with the
heel next to the near end of the bottom ; on count two, step
with your right foot so its heel touches the far end of the
bottom line (you are now facing the center of the square) ;
and on count three, close your left foot to your right, both
heels against the bottom line. Continue for the next mea
sure, on count one, with the right toe against the lower end
of the right side; count two, the left toe touches the upper
end of the right side (back now to the center) ; and count
three, the right foot is closed to the left so both toes are
against this side line. On the last measure, count one, the
left heel is moved to touch the near end of the top line ; count
two, the right heel to the far side of the top (now facing

THE ROUND DANCES 99

WALTZ TURN WITHIN A SQUARE
FOUR MEASURES

Stand near 12 at the right side of a square (whose sides are
numbered 3 6 9 and 12) and which has its four corners
clipped off (as 1 4 7 and 10).

First Measure

Count 1 Step with right foot and face out and to the right.
Count 2 Step with left foot to far end of that side.
Count 3 Close right foot to left foot.

Second Measure

Count 4 <Step back with left foot to near end of next side of square

facing in.

Count 5 Step to far end of same side with right foot.
Count 6 Close left foot to right foot,

Third Measure

Count 7 Step diagonally forward to near end of next side with right

foot facing out.

Count 8 Step with left foot to far end of this same side.
Count 9 Close right foot to left foot.

Fourth Measure

Count 10 Step diagonally back with left foot to near end of the side

from which you started.
Count 11 Step with right foot to far end of this side, putting foot

down in original position.
Count 12 Close left foot to right foot and you are back where you

started from.

Repeat over and over until order of steps and complete revolution
become instinctive.

By starting at the other end of this side with the left foot the
entire figure can be reversed.

100 COWBOY DANCES

center) ; and count three, the left foot is closed to the right
and you are standing again at the upper left-hand corner
as in the beginning, having made a complete revolution by
facing out, in, out, and in again.

The little mechanical device of the square makes it rather
delightful and surprising. Go around inside the square
several times to music, and then reverse your turn by start
ing in the upper right-hand corner with both heels touching
the top line. Then, of course, step forward with your left to
the upper right side, then with your right to the lower right
side and bring your left to your right in this lower corner.
Then backward with your right to the nearest lower corner,
and so on around the square revolving in an opposite direc
tion from your first right lead.

Now you are ready for free waltzing anywhere on the
floor. And if ever you get in trouble go back to the good
old square again and master the difficulty. Constantly strive
for the rhythm, for the first held beat, and for the subtle
balance that makes the waltz a thing of joy.

You are apt to find rhythm your chief difficulty in get
ting started on the true waltz. Once started, the waltz takes
care of itself. But it is important to start right. In an old
dance book I once found the description of a waltz start
that is so helpful and so graceful that most of our dancers
always use it. And strangely enough it is very similar to
the popular hesitation step of today, in spite of its age. On
the first beat of the music the man steps back on his left
foot so emphatically as to raise his right foot in the air in
front of him. The lady steps forward on her right and lets
her left rise parallel to his right. Balanced back in this
position with their free feet raised from the floor and point
ing from them they both rise on the toe of the foot on which
they are standing on the second beat, and lower their sup
porting heels to the floor on the third. Their free feet still
poised in the air, they are now ready to step out on them on
the first beat of the second measure and to go into a regular
waltz. That is, the man lowers his raised right foot and
steps on this right on the first beat, then on his left, and
closes his right to his left in a regular waltz. Meanwhile, the
lady lowers and steps on her raised left foot and continues
in the regular waltz.

It was an old rule that a waltz should always start with
the man stepping back on his left foot and the lady forward

THE ROUND DANCES

101

on her right, but In this case the man balances on his left, the
lady on her right, the gentleman counting the one-two-three
of the waltz with a step, up, down on his left foot; the
rhythm is established, and he is off to a perfect start.

On the Western dance floor some waltzers will be seen
doing the Spanish waltz from our Southwest, pivoting and
changing direction on each first step. That is, the man takes
his first step directly to the side and as he puts his foot
down he pivots on his toe so that he faces in the opposite

SPANISH WALTZ
TWO MEASURES
First Measure

Count 1 Stand facing north, step sidewards or west with the left foot.
Count 2 Pivot on the ball of the left foot and swing the right foot
clear on beyond, and put it down at a distance. You are now
facing south, feet separated.
Count 3 Close left foot to right foot.

Second Measure

Count 4 Step with right foot to the side or to the west.
Count 5 Pivot on ball of right foot and swing left foot and place it

on beyond. You are now facing north again.
Count 6 Close right foot to left foot.

Repeat indefinitely or reverse.

direction. At the same time he has swung his other foot on
by and in the same direction as the first step and he then
brings his feet together then he repeats, leading with the
other foot. This means that if he is facing south at starting
he takes all steps sidewards and to the west and by pivoting
alternately faces north, south, north, south, rotating con
tinually as he advances with sideward steps always to the
west. It is lovely to watch and fun to do.

Or on our Western dance floor we may see a modern

102

COWBOY DANCES

young couple who have just taken lessons In the modern
waltz from a famous New York teacher. If we watch their
footwork, they will probably advance in a series of lovely
looping, elongated triangles. The first step forward, the
second foot loops in toward it and then out to the side where
the first foot joins it; that is, the second step swings close
but stops, out to the side even with the first step, while in the
old waltz the second step swung clear on past as in natural
walking. The diagram illustrates this.

MORE MODERN PURSUIT WALTZ WITH SHORTER STEP
TWO MEASURES

First Measure

Count 1 Step forward with left foot.

Count 2 Step with right and place it out to right of the left foot.
Count 3 Close left foot to right foot.

Second Measure

Count 4 Step forward with right foot.

Count 5 Step with left and place it out to left side of right foot.
Count 6 Close right foot to left foot.

Repeat over and over, continuing forward, until steps become
instinctive.

Ancient to modern, what is the waltz? Does it have a
lovely little Viennese dip, or should it be so smooth and
even you could carry a glass of water on your head without
spilling a drop? Oh, here comes an old-timer, and from the
look on his face the dear old man is going to tell me some
thing is wrong. "Professor," he says in kindly reproach,
"you are backing your lady. When I was a young feller we
considered that such an insult that we'd fight the feller that
backed a girl we liked." What spacious ballrooms or barn
floors they must have had, when the man dared to back up so

THE ROUND DANCES 103

the lady could always go forward. Today a man must move
forward, looking over his backing lady's shoulder in order
to steer a course through the crowd that packs the floor.
But I back up to please the old man, wondering if I can
keep from knocking someone down while I do it. As I pass
him again I smile proudly, but he beckons to me. "Did you tell
our orchestra to play that fast?" "Yes," I confess, "I did."
"Young man, a waltz is always slow and dreamy and you
know that," and he winks at me with deep relish. As I back
manfully away I recall that young Strauss was considered
as dangerous and daring as a modern swing artist, and
that he whirled his waltzers at a dizzy and exhilarating
speed. Could it have been the sixties to the nineties that
slowed the waltz down till it died ? And will it someday come
back again as a dance for the young, the loveliest and most
joyous dance that ever graced a ballroom?

Chapter 5

More
Squares

The Docey-Doe

IT WAS the customary order at a Western dance to get the
sets out on the floor and do two square dances, then do a
round dance, then two more squares, and so on through the
evening. But gradually the round dances became more and
more the modern one-step, fox trot, etc., and the program,
following the modern tendency, became mostly round dances
with perhaps only two squares called during the whole eve
ning. If you are reviving the old Western dance, keep your
round dances in the background and build your programs
two to one of squares.

If this is your first dance and you have just tried the Rye
Waltz or some simple round dance, call your sets out on
the floor for another dance. It is customary to call "Form
your sets for another square" or "Form your sets for a
quadrille." And then the caller walks around the floor help
ing each set to form. If he finds a set lacking a couple he
calls "one more 'two* here" until he fills out the set. And
after all the sets are filled, one lone couple may come out on
the floor looking for a set, and the caller will help them by
calling out, "Three more 'twos' here, let's form another set.
That's the stuff, thank you. Now two more 'twos F Ah, here
comes a couple. Now one more 'two/ please. Come, folks,
come, let's get this dance started. One more couple, please,"
And he goes out and commandeers a couple from the side
lines if he has to, and his floor is ready.

Ordinarily he would start the music and swing into a
call without letting anyone but his fiddler know what was
coming. But this is a first dance, and he will have to pause
for a good deal of instruction. Perhaps right now he should
teach the docey-doe.

MORE SQUARES 105

This maneuver, usually spelled do-si-do, recurs over and
over in most of the squares. Whenever a couple executes a
figure with another couple they usually finish with a little
subchorus circle four and docey-doe. Then, when they have
gone around and done the same with all three couples and
are back home, they usually all unite in a general chorus
which is the Allemande left and Grand right and left. This
subchorus, executed by fours, is so common that it must be
mastered soon.

It is so important that it may be well to interpolate a
discussion of it and its possible origin at this point. One
of the common figures in the New England Quadrille,
brought over from France, is the Dos-a-dos or back to
back. This is executed by a lady and a gentleman advancing
toward each other (as the opposite corners in the Virginia
Reel), passing around each other back to back without
touching in any way, and each walking backward to their
original place. Of course, the French pronunciation was
"dose-ah-doe" ; and in London, or in Boston, where French
was still current, it would be correctly pronounced. But in
the Lowlands of Scotland or carried by those Lowlanders to
the Appalachian Mountains of America there might be a
corruption such as "do-si-do," and the figure could be and
probably was developed into a more complicated and more
joyous maneuver. The common Briton has a genius for mis
pronunciation. Note his "cross of the dear Queen/' the
"chere reine" corrupted into "Charing Cross," "Bethlehem"
changed to "bedlam," the "contra dance" with its line
against line called a "country dance." So do-si-do seems
quite inevitable to me in an oral tradition. Years later when
someone wished to write it down he mistakenly suspected
it of a relationship with the old musical notation, the "so, la,
si, do" of the upper scale, and called it do-si-do. As it moved
west it sounded more and more like two words, "docey-doe"
When a literary friend who heard me call one night wrote
me a note headed by a little drawing of a deer coming over
a mountain and labeled "docey-doe" this impression of mine
was confirmed ; hence I deliberately depart from convention
and spell the Western variant docey-doe.

Now in the Kentucky Running Set we find one of the
first forms, a circle four with the four holding hands but
with the men back to back or dos-a-dos while the women are
face to face in the circling four. When they broke it was

O
A

CQ
O
Q

Pi
3

o

108 COWBOY DANCES

natural for each man to swing the opposite lady around be
hind him with his right hand and then swing his partner
with his left and lead her on to the next couple. This simple
form still survives, you will remember, in the Form a Star
with the right hand cross which you danced earlier in the
evening, except that the circle four was omitted, and the
men were not back to back.

Later, it seems natural that the four would circle while
all facing in, and a new movement would be required before
they could conveniently swing their opposites with their
right, and the more complicated it was the more fun it would
be. So we find a form where each gentleman passes his lady
beyond the other lady (that is, each lady passes between the
opposite couple) from her partner's right hand to his left,
then the two gentlemen swing in and pass each other back to
back, dos-a-dos, still holding their partners by the left hand
and continuing their pivots while keeping hold. They are
now in a position and swinging in a direction which makes
it inevitable to swing the opposite with the right and, of
course, to finish by swinging partners with the left. This,
to me at least, traces the evolution of the French dos-a-dos
to the Western docey-doe with complete satisfaction.

Start very simply and very slowly, if you would save
time. Let two couples stand holding hands in a circle of four,
each gentleman's partner in his right hand, and the opposite
lady in his left. Now let each gentleman break his hold with
the opposite and pass his lady from right to left so that she
passes between the opposite gentleman and his partner, of
course, breaking holds with her partner to be able to do this,
and then the gentleman takes her left hand in his left; that
is, each gentleman passes his lady's left hand from his right
hand to his left in such a way that at the moment of break
between his two hands she passes beyond the opposite lady,
and the opposite lady passes between him and his own lady.
Now he continues the motion by passing her around behind
him with his left hand, she, of course, doing a left turn. He
must not turn with her, but must keep facing the opposite
gentleman all the while. As she gets behind him he must, of
course, let go her hand. Otherwise he would have to pivot
around with her, and that would spoil everything. She con
tinues encircling him, and as she comes around to his side she
is in a position to be taken by her right hand by the opposite
gentleman. So each gentleman passes his lady behind him

MORE SQUARES 109

with his left, releases her to let her go on around behind
him, and reaches out with his right hand and takes the on
coming opposite lady. He passes her behind him with his
right hand, releases her in the same manner so she can com
plete encircling him, and takes his oncoming partner with
his left. As he turns her he puts his right hand behind her
waist where her right hand palm upon her hip awaits it and
walks with her to whatever position the continuing dance
requires.

It all sounds very complicated in words, but is extremely
easy on the floor once you get the idea. The gentleman
beginners have three favorite ways of muddling up the
docey-doe. The commonest error is in forgetting to face
always the opposite gentleman, and in turning around or
pivoting as they pass the ladies behind them. The second
commonest mistake is trying to hold on to their partners
while they pass them beyond the opposite ladies. This is,
of course, physically impossible, as the resulting tangle will
prove. And a few of the gentlemen forget to let go of the
ladies as they pass them around behind them. But it would
require an arm as long and supple as a boa constrictor to
pass anyone completely around behind you without letting
go hands.

The ladies, bless 'em, also have their favorite mistakes.
Usually they try to turn to the right around the opposite
gentleman instead of to the left around their partner as
soon as they are released and are passing beyond the oppo
site lady at the beginning of the figure. But if they will
concentrate on doing a "left turn" by giving their left hands
to their own partners and circling behind them they will
have no trouble. Then, often, when they circle their part
ners they seem to think the figure is over and refuse to
encircle the opposite gentleman next. They must do a com
plete figure eight, encircling each man.

It often pays as a bit for preliminary practice for the
two men to stand stationary, close, and face to face, and pass
the ladies behind them in a series of figure eights. They
will pass their partners behind them with the left hands and
their opposites behind them with their right hands alter
nately over and over again until this essential part of the
figure is established. And the ladies will probably never
again encircle the opposite first after they have done a
dozen or more figure eights around the stationary men.

1. Four hands up

2. and here we go

BOGEY-DOE

3. Around and around

4. and a docey-doe!

00CEY-DOE

5. A doe and a doe

6. And a little more doe.

DOCBY-DQE

7. Chicken in the bread tray

8. Pickirt up
DOCEY-DOE

9. the dough.

10. Owe more

DOCEY-DOE

11, and home

12. we go !

DOCEY-DOE

116 COWBOY DANCES

If the men will remember to face each other always and
the ladies will remember to begin with a left turn to do a
figure eight beginning with the left turn it will all go as
smoothly as clockwork.

Now that the elements of this figure are mastered, let's
slick it up a little. It is always preceded by a circle four; that
is, the two couples, holding hands in a circle, circle around
to the left until the call of docey-doe. It is often called Four
hands up and here we go, 'round and around and a docey-doe.
I expect it means four pairs of hands up and clasped, just
as Eight hands 'round means eight pairs or eight dancers
circling to the left. The dancers will find that it is just as
easy to break into a docey-doe from the moving circle. But
now it becomes instinctive and altogether correct for the
men to move forward to seize the ladies' hands and to move
backward as they swing them behind. They always more or
less face each other, but weave back and forth with the
ladies in a free-stepping and instinctive grace as they do so.

In fact, as the couples get expert, they will put in all
sorts of flourishes. The commonest of these flourishes is for
the men to swing past each other back to back as they swing
their partners around with their left hands, and then, letting
go, to continue a full pivot in order to take the opposite lady
with the right hand. Then they pass the opposite gentleman
again, back to back, as they swing the opposite lady with the
right hand and do another full pivot in order to catch their
partners with their left hands. This is the old form of the
docey-doe described from the mountains of Kentucky.

I have seen some of our oldest Western pioneers precede
the docey-doe with the call ladies doe, and the two ladies did
a regular New England do$-a-dos, or back to back. They
then called and gents you know and the two gentlemen did
a dos-a-dos across their four. Then circle four and docey-doe,
and they finished with the regular docey-doe described above.
In fact, this ladies doe and gents you know has become just
a bit of patter used by the caller while the four is executing
the regular docey-doe. And beginners must never be wor
ried by this patter, the caller is just amusing himself, sort
of talking to himself in his sleep, and he has dozens of
variants of this docey-doe call. Once you hear docey-doe
swing into the figure and let the caller rave on as he pleases.
One of the commonest bits of patter you will hear, if you
can distinguish the words, will be something like this :

MORE SQUARES 117

Four hands up and here ice go
Around and around and a docey-doe.
A doe and a doe and a little more dough,
Chicken in a bread tray pickin* up the dough
And one more change and on we go.

And you will find it is timed so perfectly to the figure
that as he says on you go, you have finished it all and are
presenting yourself and your partner to the next couple for
the next figure in the dance.

In some parts of the Western country I find what I con
sider to be a corruption or simplification of the docey-doe.
It consists simply of the women doing a pair of figure eights
around the men. It would follow the simple call :

Swing your opposite with your right,
Now your partner with your left,
Noiv your opposite with your right,
Now your partner with your left.

With no passing between and no turning left at the
start it is easier for beginners to do. And I am convinced
that that is how it happened the original form was too
difficult and was lost. And it is natural that these simpler
variants should appear. The only difficulty is that each
group thinks his variant is right. They will ask you quite
innocently, "Do you do it the right way or the wrong way?"
meaning "Do you do it my way or your way?" They seldom
know anything of the history of the figure; they only feel
that the way they first learned it, even if it were only last
week, is the "old way" and any variation they learn this
week, regardless of how ancient or authentic it may be is,
of course, to them the "new way." It is truly inspiring to
see the autonomous pride with which each group feels
certain that it alone is authentic and the rest of the world
is out of step.

The Lady Round the Lady and the Gent So Low

This is one of the simplest, the commonest, and the most
popular of the dances that uses the docey-doe. And so, as
soon as your sets have all mastered the docey-doe, it is a
good call to begin with. Some fours may still be having
trouble with their docey-doe. But if those who know how

118 COWBOY DANCES

have demonstrated to the beginners, and helped them until
they have learned it, and if each couple in the set has prac
ticed it a few times with every other couple in the set, they
should be ready for a dance and a chance to try it out.

You may use the first introduction that you learned in
Chapter Three since it is the commonest and most usual
form. Or if you want fun and action call :

All jump up and never come down
Swing your honey around and around
'Till the hollow of your foot
Makes a hole in the ground.
Promenade, boys, promenade!

All of which simply directs them to jump playfully up
in the air (and how they love to jump high and silly!) and
then take the swing hold (modified regular dance position,
see Chapter Four) and swing around and around until the
call comes to promenade, when they take crossed hands and
march once around the square, to the right, &nd back to
their own positions ready for the dance proper to begin.

Now call :

First couple out
To the couple on the right
With the lady 'round the lady
And the gent so low.

The first couple moves out to the second couple with the
lady in the lead. The second couple separate from each other
so the lady can pass between them and continue with a left
turn by walking completely around the second lady. The
first gentleman follows her around this lady. I am told that
originally this was called and the gent also, but this was a
little awkward and was sort of inverted to the gent so low.
It is usually spelled "solo" when printed, perhaps because
the man does a "solo" behind the lady. But since the accent
is always on the second syllable as called, I have spelled it
in the less frequent form.

The call continues :

And the lady 'round the gent
But the gent don't go.

MORE SQUARES 119

The first lady now continues in a figure eight by circling
with a right turn around the second gentleman. In the mean
time, since "the gent don't go," the first gentleman, having
circled the second lady, stops there standing beside her,
and as his lady circles the second gentleman it brings her
around between the two men ready for :

Four hands up and here we go
Around and around with a docey-doe.

Taking hands in a circle, the gentlemen opposite each
other, and the ladies the same, each gentleman with his own
lady in his right hand, they circle to the left and then exe
cute the docey-doe described above. As they finish, the call
goes on :

On to the next

With the lady 'round the lady

And the gent so low.

And the lady 'round the gent

But the gent don't go.

And four hands up, etc.

They do the whole thing through the docey-doe with the
third couple. Then on to the next and they do it all with the
fourth. Then:

Balance home and everybody swing.
Now allemande left with your left hand,
Right to your partner and right and left grand.
And promenade eight when you come straight.

They all do this general chorus figure of the allemande
and right and left as described in Chapter Three.

Then the second couple is called out to the couple on the
right, and the whole thing is repeated for them until they
have danced the figure and the docey-doe with every other
couple in turn, and finally balance home to join with all the
others in another allemande left and grand right and left.
It is then all repeated for the third couple, and for the
fourth, and after this final grand right and left, the dance is
ended with the call promenade to your seats or promenade
you know where and I don't care.

Or if you want to follow the regular Western fashion
and dance two squares in succession, you will call there you

120 COWBOY DANCES

stand or that's it, and they will finish their promenade and
stand in their squares waiting for the second tip, or second
call.

Now that the rudiments are learned you can turn to any
of the calls in the second part of this book and try another
dance. But some of them are quite complicated, and had
better be left for a later day. Some of the easiest in the
docey-doe pattern are I'll Swing Your Girl You Swing Mine,
or Two Gents Swing with the Elbow Swing. In this latter
the gentlemen can avoid mix-ups by remembering always to
swing each other with the right elbows and to swing the
ladies with left elbows. Around that Couple and Swing at
the Wall is easy and popular, or Dive for the Oyster. This
last looks very complicated, but is really very simple, and
most groups like it best when they do it badly. As soon as
they get it smooth, and there is no one to laugh at for his
blunders half the fun goes out of it. So it is a great favorite
with beginners, and even old-timers love it when they have
beginners to astonish.

In the symmetrical selection of dances, Ladies to the
Center and Back to the Bar is a favorite. Walk through it
slowly first and stress the fact that the star must continue
holding hands after they pick up the ladies on their arms.
Once they get the idea of allemande left just one and prome
nade the girl you swung, and of always taking the new girl
to the gentleman's home position, it will all go as smoothly
as silk. And there are other dances in this section that be
ginners might want to try. Swing the Ladies to the Center
and Let them Stand is very easy to do.

The Down the Center and Split the Ring type of dance
is also easy. Perhaps the easiest to begin with is Down the
Center and Cut Away Six. The foot sometimes forgets to
swing but you can trust all the rest of the set to protest
until they get to swinging. And some of the couples will
have trouble in realizing that a cut aioay four is cutting
around two on each side, and a cut atvay two means to go
around one on each side. But beginners catch it quickly, and
they always like it. By far the most popular, perhaps be
cause it is the simplest of all of the dances in this section, is
the Waltz Quadrille. After you have done it a few times the
sixteen repetitions may grow unbearably monotonous. But
in this case I always let each couple (really each gentleman)
go down the center twice instead of four times, and it all

MORE SQUARES 121

comes out even in the end, and cuts the dance exactly in
half.

There are many dances in the section where one lady or
gentleman goes out that are very simple. For instance, One
Little Buffalo out around the Ring is so easy as to be fool
proof, and it has a lot of laughs in it.

Once the group has done a dozen different dances they
can try anything safely. Of course, such a dance as Wave
the Ocean requires such a precision of timing that a general
mixed group had better leave it alone or they will be mixed
indeed. But any group that has worked together for any
time at all can soon have it running smoothly, and their
mastery of its timing will accentuate their pleasure in it.

Endings and Beginnings

There are only a few introductory figures current in
the West, but it is well for the caller to have his group used
to all of them, and to keep variety up by changing as often
as possible. You will find them all in the second section of
this manual Any introduction will serve as well as another
for any dance, with very few exceptions, and the caller must
always strive for variety. To keep the interest up he must
make them follow the call, and never let them know what
is coming next. If some wise set runs ahead of the call with
too much overconfidence, he had better change the call sud
denly and leave them hanging out on a limb. It is good
discipline and good dancing.

And so with the endings. In the second section you will
find them all. Any ending can be used for any dance, and
the caller should always use a different ending so the dancers
will keep their ears pricked up for the call, and their interest
on the alert. Only in the case of one or two dances is any
particular ending more appropriate than any other. But
in every other case scramble them joyously.

In the ending :

Siuing your opposite across the hall;
Noio the lady on your right, etc.

there is sometimes trouble on the first trial because the
ladies, in their enthusiasm, cross over to meet the gentlemen,
instead of standing still as they should, and waiting for the
gentlemen to come to them. But the chief trouble comes from

122 COWBOY DANCES

the gentlemen not being able to tell which direction to go
for the lady on the right. This is because some of them may
be facing the center of the square when the call comes, in
which case they will really get the right lady ; but those who
have their backs to the center at the moment, of course, go
in just the opposite direction and grab the wrong lady. It
is easiest for the men to remember to move on in their
regular promenade direction (which, of course, is a circle
to the right), and take the next lady, in which case it makes
no difference how they were facing when the call came.

There are two endings which have an identical execution,
but the calls are worded differently.

Promenade in single file

And just let me remind you

To turn right back in the same old track

And swing that girl behind you.

This call usually comes after a swing, and all that must
be remembered is to put the ladies down in front of the
gentlemen before the single file promenade begins; then
turning back (with a turn to the outside) the gentlemen
swing each lady in turn and put each one down in front of
them until after four promenades they get their own ladies
again.

Promenade in single file

Lady in the lead in Indian style

Turn right back and swing 'em awhile.

From this call the dancers, of course, do exactly the same
thing, repeating four times until they meet their own part
ners. But my dancers always take this call literally and on
the words "in Indian style" they all crouch in war-dance tra
dition, and with their hands over their mouths, give a series
of war whoops. It makes a pleasant variation, and the
dancers seem to enjoy it. So I always alternate these two
calls while doing the series of four repetitions, and it seems
to work out better that way.

Chapter 6
r

s

Types

of
Dances

rpHERE were four distinct types of dances in the old
J- American dance program. They were the square dances,
such as the quadrille; the longways dances, such as the Vir
ginia Reel; the round dance, such as the Polka and Waltz;
and the circle dances, such as the Cicillian Circle or Soldiers'
Joy. In our Western dances, only the modified square and a
few of the round dances managed to survive. I hear refer
ences to the old circle dances done here forty years ago, but
I have never seen one on a modern program in the West.
Only the Circle Two-Step has carried on, and this is so
simplified that it has little in common with the fine old-
time circle forms.

Also, the splendid longways dances such as Speed the
Plough, Lady of the Lake, Hull's Victory, Pop Goes the
Weasel, Money Musk, etc., are only names in this part of
the country, or revivals in some of the schools. At one old
Western dance I attended the caller announced "Pop Goes
the Weasel." I was delighted and got my young people out on
the floor and all lined up for a good longways dance. But no
one else lined up. They stood about the floor in couples, and
as the fiddler started the familiar tune they all took a regular
dance position and began to two-step.

Which of the old verses do you remember? Is it

'Round and 'round the cobbler's bench
The monkey chased the weasel.
The monkey thought 'twas all in fun
When pop goes the weasel.

Whichever verse you do remember, you recall that the fourth
line is always "Pop goes the weasel." And when the music
reached that line, each gentleman turned his lady under his

124 COWBOY DANCES

left arm (pushed her under, if you will, with the right hand
that had been around her waist), and she flew away from
him to her full arm's length. At the end of the rope, the
extreme limit of their holds, he gave a mighty jerk so that
she flew through the air and almost flattened herself against
his chest. If she was still conscious, they started two-step
ping again with a high hop and a joyous abandon until the
music directed him to "pop" her again. It was funny and
full of laughs. Any hilarious group will find it amusing for
a few times. But it is a sad descent from the old dance of
the same name.

But you will say that the Virginia Reel still survives. No,
I have never seen it with the country folk. It has strangely
survived in schools and in society groups as the only ex
ample they know of the longways dance. I say strangely
because I do not consider it nearly as fine or as much fun as
many of the others. And my young people almost refuse
to dance it, they have become so tired of it since they have
been called upon to demonstrate and to teach it so often.
However, I am sure your group of beginners will want to
dance it largely because they feel somewhat on familiar
ground. And you should encourage them. My only sugges
tion is to break up the dance from the long double line it is
usually danced in to the old traditional grouping of many
shorter lines. It is best to have only six couples in a reel set,
the gentlemen in one line and the ladies in the other, and
as many of these short sets arranged crossways of the hall as
the space will permit. Then it does not take so unbearably
long to get through the dance once. In fact, with only six
or eight couples in each set, we usually cut its time in half
by having the first two couples form a bridge (after they
have marched around and come together) and all the other
couples passing under. This gives a complete new set of
corners. Otherwise, the head couple becomes the foot couple
on the second repetition, and they have a second turn on the
corners with all the saluting and turning and dos-a~dosing to
repeat. To be sure, in this shortened form only every other
couple gets to reel down through the set. But they won't
notice this if you don't tell them.

If you have many short sets for the Virginia Reel cross-
ways of the hall, it is almost necessary to call the dance. It
not only helps the beginners when they get on a corner and
have to lead, but it keeps all the sets together and saves a lot

TYPES OF DANCES 125

of confusion on the floor. If a set gets through reeling
before the others, it, of course, waits for the call before
going on with the dance, and soon they will all be working
together at the same tempo.

I have shortened the call and modified it to the present
form as best suiting my purposes. I assume that everyone
is sufficiently familiar with the dance so that detailed direc
tions are unnecessary.

Head lady salute the foot gent.

Opposite corners salute.

Head lady turn the foot gent with the right

hand 'round.

Opposite corners turn ivith the right.
Head lady turn with the left.
Opposite corners turn with the left.
Head lady turn with both hands 'round.
Opposite corners turn ivith both.
Head lady dos-a-dos (or back to back) .
Opposite corners dos-a-dos.
Head couple join hands
Down the center and back.
Now hook right elboivs
And turn once and a half around.
Now reel through the set.

(That is, alternately hook right elbows with your partner
and left elbows with the next person in line, the lady, of
course, turning the gentlemen, and the gentleman turning
the ladies, until you have reached the foot of the set.)

Head couple swing each other
And march back to the head.
Cast off and lead the lines around.

(That is, the gentleman leads the gentlemen, and the
lady leads the ladies, marching down the outside of the lines
until partners meet at the foot and either join hands to form
a bridge, or join hands and pass under.)

First two couples join hands in a bridge
And the rest pass under.
Separate your two lines.

(Repeat as many times as necessary.)

126 COWBOY DANCES

The chief trouble, as I said, with the Virginia Reel is the
monotonous repetition and waiting" for your turn on the
corners. This can be obviated by a new form of the dance
which is gradually growing in favor. In this form, instead
of having corners bow, turn, etc., each gentleman, and all
at once, crosses directly over and does all the moves with his
own partner. Done carelessly, this leads to wild confusion
(but fun). However, if the line of men all advance as a
straight line, the ladies the same, and all return to places
in straight lines it can be very effective. And everyone is
active all the time up to the point when the head couple reels
the set.

Of course, the call must be modified to :

Each gentleman salute the opposite lady.
Now turn her around with the right hand round,
etc,

or some similar call of your own improvisation.

If you would like a complete description of the Virginia
Reel and of most of the other old American longways dances
I can refer you to no better text than Elizabeth BurchenaPs
American Country Dances published by Schirmer. It not
only has complete directions and music but diagrams which
make everything clear.

Some of these old dances are also described in Ford's
Good Morning, which also contains descriptions of the circle
dances and the best descriptions I know of a large variety of
round dances. But its chief value is for the New England
Quadrilles and Lancers. To anyone who is taking up Ameri
can dancing it is quite invaluable.

In our Western dancing we find a few New England
dances with a sung call still surviving. And I think this call,
which was sung, unquestionably had a great influence on the
patter used by the Western caller. In the West where they
had to do the best they could with whatever they had, it was
inevitable that the fiddlers would be unfamiliar with some
special tune and would have to substitute another, thereby
killing the song, or the caller had forgotten the exact words
and a patter grew up quite naturally, and the Western dance
evolved as quite a distinct form*

There were several different types or patterns of dance
that grew up in the West. And it would probably pay to dis-

TYPES OF DANCES 127

cuss each type briefly. Before doing this we should mention
one other New England contribution that became trans
planted in the Western dance. There are two figures that
regularly recur in the old New England dances. They are
found over and over again in the Quadrilles, Longways
dances, and Circle dances. They are the right and left
through and the ladies chain. While they do not very often
occur in the Western dance, the ladies chain being especially
rare, they do merit a description; and, once learned, your
group can widen the variety of its dances. Ford's Novelty
Two-Step, for instance becomes great fun with a group who
are familiar with these two simple figures.

In the right and left through two couples advance to each
other, each lady, of course, being on the right side of her
gentleman. Each dancer gives his right hand to the oppo
site (who, of course, is of the opposite sex as well) and
passes beyond the two couples passing through each other.
Each 'gentleman then takes his lady's left hand in his left
hand, and putting his right hand behind her waist, turns her
around him to the left while he stands as a pivot. Then the
two couples pass through each other again, giving opposites
right hands as they do so. Then giving left hands to part
ners, the gentlemen again turn the ladies to place. Right
hands to opposites and left hands to partners give it the
name right and left through. Experts usually leave out the
handshake, but beginners find it a help. This means that
the dancers pass each other on the left side. Incidentally, in
all passing, whether individuals, couples, or long lines, it is
customary to pass on the left side of your opposite instead
of on the right side as we are accustomed to do in modern
American traffic. The old English custom of passing on the
left prevails in our dancing as it still survives in modern
London traffic. Perhaps it carries the roots of our dances
back to the time when armed men passing in narrow lanes
kept their sword arms toward each other for safety's sake
and passed on the left.

In the ladies chain two couples face each other. Each
gentleman passes his lady toward the other lady. The two
ladies take right hands in passing each other and then give
their left hands to the left hands of the opposite gentlemen.
The gentlemen put their right hands behind the ladies'
waists and turn them completely around to the left as they
themselves pivot in position. Each gentleman now passes

1. Two couples advance to each other.

2, And taking ri&ht hands with opposite^ pass through each other.

RIGHT AND LEFT THROUGH

3. Partners now rejoin their left hands and

4. Each lady pivots around her partner to the left

RIGHT AND LEFT THROUGH

M

I.

5, They advance to each other again taking right hands with opposites.

6. Pass through each other. Then joining left hands as above (in
Fig. 3) will pivot left to place.

RIGHT AND LEFT THROUGH

TYPES OF DANCES 13 i

his lady toward the other. The two ladies take right hands
and pass again, giving their left hands to their partners
this time, who again pivot and turn them to place. It is
more graceful if the lady, when she gives her left hand to
the gentleman, places her right hand well back on her hip,
palm outward, so as to receive the gentleman's right hand
when he turns her around.

When either of these figures is encountered I think it
adds pleasure to the dance to recognize it as of the purest
New England ancestry. And yet the ladies chain is so rare
in the West that its commonest form modifies it from a two
ladies chain to a three ladies chain in the dance of that name,
and even sends the ladies chaining for the full length of the
hall at times, giving right hands to each other and left hands
to the fixed line of gentlemen, who stand dizzily pivoting
to the left and passing the ladies on interminably.

Types of Western Squares

There are several distinct patterns or types of Western
dances. If you understand the essential structure of each
type you will fit any new call into its type immediately and
only have to become acquainted with the variation. And so
I believe it will pay to discuss the types in order that the
whole general architecture of the dance may be kept in mind.

The Docey-Doe Type

The docey-doe type is perhaps the most typical form of
the Western dance. The docey-doe serves as a subchorus, the
grand right and left as the grand chorus. After an intro
duction, the first couple goes to the second, executes a special
figure and a docey-doe, goes on to the third couple and does
the same figure and the docey-doe, then on to the fourth, re
peating the figure and the docey-doe, then balances home and
they all do the allemande left and grand right and left, pre
ceded usually with a swing, and ending always with a
promenade to place. Then the second couple goes around
the ring visiting each other couple in turn, third, fourth, and
first, and does the figure and docey-doe with each and back
home to join with all in the grand right and left. Then it is
all repeated with the third couple visiting around the ring,
then repeated for the fourth couple, and after the last grand
right and left and last promenade the dance is over.

1. The ladies of two couples exchange places, taking right hands in

passing.

l*^f^^

2. They give their left hands to the opposite gentlemen and encircle

them.

LADIES CHAIN

3. They pass back to their own partners, again touching right hands.

4. They give their left hands to their own partners.

LADIES CHAIN

5. The gentlemen put their right hands behind the ladies* backs.

6, And turn them around to place.

INDIES CHAIN

TYPES OF DANCES 135

Variety may be added by using a variant of the grand
right and left, or by using some other ending such as Swing
your opposite across the hall Good dancers sometimes add
variety without the caller's help by letting the second couple
do the figure and doceij-doe with the third couple at the
same time the first couple goes on to the fourth. This puts
the whole set in action at once instead of having two couples
standing inactive. Less often, and only with very expert
dancers and very energetic ones, the whole set keeps in
action all of the time. The third couple jumps out to the
fourth and dances the figure with them while the first
couple dances with the second. But the third must finish
in time and be back home ready to receive the first when
they- advance to meet them. The fourth couple in the mean
time swing more or less to the center of the set ready for the
second couple, who advances to them and does the figure with
them while the first and third are in action together. It is
now the turn of the fourth to hurry and make sure they are
home in time for the oncoming first. For, after all, the
dance really belongs to the first couple, it is called for them,
and the other couples must be in place to receive them when
the caller sends them on. As the first and fourth do the
figure the second meets the third with the same. Then they
all balance home for the grand right and left. And so on
through the four repetitions of the dance, they all keep
active all of the time. Unless they are experts and sure of
their timing, it only makes for confusion and sloppiness;
even with experts there must be agreement as to who is the
active couple, or it will lead to collisions. Of course, the
first is active all three times, and perhaps it is best for the
others to follow the order of third, fourth, and second
couples being active each in turn on the off couple's figures.
But any agreement as to this that any group arrives at will
be satisfactory so long as it is an agreement that is always
understood.

Sometimes the caller directs this double action, speeds
things up, and shortens the dance with a call second couple
follow up. After the first couple has danced with the second
couple and then with the third couple in the regular manner
the caller says, "On to the next and the second follow up."
The first couple then advances to the fourth and at the same
time the second couple advances to the third, and the two
groups of four are in action at the same time. Then on the

136 COWBOY DANCES

call, "On to the next/' the first couple goes back to their own
position and remains there (since they have completed the
circuit of the set) and the second couple advances to the
fourth and dances with them. Then the caller says, "On to
the next and the third follow up." The second couple now
dances with the first couple, and the third couple at the same
time dances w r ith the fourth. In this way each couple goes
around the set overlapping with the proceeding couple and
stopping at their own home position and waiting for the
couples behind them to catch up. As soon as the opportunity
offers the fourth folloiv up and by the time the fourth couple
gets back home, all will have been around the set. Thus
three grand right and lefts will have been omitted, and they
will all join now in a final right and left. It sounds compli
cated, but works out easily. Each couple follows up as soon
as there is a couple free for them to dance with. In the
figure it works out that all four couples are busy, then only
two couples, then four again and so on alternately. It makes
the dance more interesting and much shorter when called in
this way.

Split-the-Ring Type

There are several dances built on a pattern in which the
first couple goes down the center and splits the ring, the
lady goes right and the gent goes left. In practically all of
these dances, after the introduction, they begin by having:

The first couple balance;
The first couple swing,
And down the center f
And split the ring.

Aside from the direction balance home in which most
dancers simply go home (though by rights they should bal
ance even here) balance always means to step backward four
steps and then forward four steps in our type of Western
dance. So, if the first couple balances they face each other
and each backs up four steps, then they come together four
steps, and swing in the regular way. Then they march down
the center and pass between the third couple and separate,
the lady going around the outside of the ring to the right and
the gentleman to the left, ready to do anything that the call
directs them to do.

TYPES OF DANCES 137

In most of the dances of this type whatever the figure
may be, the man promenades with the corner girl, that is,
with the girl on the left, and takes her to his home position.
This means that each lady progresses one gentleman to the
right each time. Thus, the first lady progresses to the
position of the second couple, the second lady to the third,
and so on. Usually the call continues the same old gent
(that is, still the first gent) and a brand new girl (that is,
the fourth girl) down the center and away they whirl, and
they repeat the dance by splitting the ring and each circling
around. The next time it is the same gentleman and still a
new girl. On the fourth repetition the first gentleman finds
his lady has progressed to the fourth position, and is now his
cdrner girl, so he promenades with her and has her back
home. Then usually a left allemonde and right and left
grand is used as a general chorus before the second couple
is called out for the dance, and it all repeats itself.

Sometimes this is accomplished by each dancer executing
a figure with the corner and being then directed to finish
by promenading with the corner, which makes it all very
simple to put the ladies through their progression. But
more often the figure is done with the partner and then
comes the call all run away with the corner girl, when each
gentleman goes to the corner lady and leads her around the
promenade to his home position. When the figure is exe
cuted with the corner, it is often followed with the call :

Allemande left just one,

And promenade the girl you swung.

This means that each man does an allemande left with the
girl on his left and then returns to the corner girl with whom
he just did the figure (the girl he swung), and promenades
with her, thus effecting the necessary progression. This pro
gression must be remembered as the essential feature of
most of these split the ring dances.

In the Waltz Quadrille, an old favorite, we find a varia
tion when the lady returns back center after the first couple
has passed through the third couple ; that is, she passes back
through them again instead of circling around to the right,
but the gentleman stays outside and circles in the regular
manner. He meets her at their original position, but she
has taken a short cut.

138 COWBOY DANCES

Symmetrical Type

This is a type of dance in which each couple does the
same figure at the same time, giving a complete symmetry to
the set. It is at its best in such dances as Four Gents Lead
out to the Right of the Ring and Ladies to the Center and
Back to the Bar. And in most of the dances of this type
there is the same progression of ladies or gentlemen around
the ring, so each will have a new partner for the four repe
titions of the dance. This progression is achieved in one of
the three ways described in the preceding section.

Another type of symmetrical dance starts with :

The first and third couple
Forward and back.

(This is suggestive of the New England Quadrille.) After
taking four steps toward each other and four steps back and
away from each other, the first and third couples move into
a position that puts all four couples in action and in
symmetry.

The Single Visitor Type

There are a few dances in which a single lady or a single
gentleman visits around the ring, doing some figure with
each couple or one dancer of each couple in turn. Usually
this type of dance borrows its patterns from the Kentucky
Running Set, and the single lady is followed by each of
the other ladies in turn until they are all going around the
ring, or the lady is followed by her partner. In one dance,
The Pokey Nine, even the caller jumps into the set, or some
ninth dancer comes in from the wall, and follows around
always with the odd couple until the dance is completed.
And in Take Her Right Along the gentleman leads his lady
out to the second couple, but leaves her there and takes the
second lady on to leave her with the third gentleman while
.he takes that lady on, and so on until, after twelve swaps
and twelve swings, he has his own lady back home.

The characteristic, then, of this type of dance is for one
or more dancers individually to visit around the ring.

Promenade the Outside Ring

There are a few dances in which the first couple starts
the dance by promenading the outside ring, or the inside ring

TYPES OF DANCES 139

as the caller may direct. Then the dance can take any of
several directions. In fact, these directions are so various
that the dance may move into a sort of symmetry or take
almost any form, and so I doubt whether this is a true type,
although we often loosely call it a type.

For instance, in one case, after the first couple prome
nades the outside ring the lady goes half way 'round again
(and by so doing gives the name to the dance) . This leaves
her in a line of three with the third couple, and leaves her
gentleman standing alone. He now becomes a single visitor
and swings each lady in turn making the dance distinctly
of the single visitor type.

We will find the first dance of the next section The Grand
March Change, which distinctly belongs in that section,
starting with the Promenade the inside ring, so I doubt if
this is a true type at all.

Intermingling Type

Some of our finest dances are here, but since all the sets
intermingle with each other in one long line they are not
dances for beginners. They are, however, packed with
fun for those advanced enough to execute them. The Grand
March Change is perhaps the best liked of all of them. If
all your sets are arranged in one line down a narrow hall,
the first couple of each set promenades the inside ring and
faces the wall, that is, faces outward from the set and
toward the head of the hall. The second couples then prom
enade and fall in behind them, the ends (or third couples
who are already facing the head of the hall) move up be
hind them, and the sides (or the fourth couple) move into
line behind the thirds. All the dancers on the floor are now
in one double column, and the old-fashioned grand march is
done by ones, twos, fours, and eights. To be sure, if your hall
is wide and you have too many sets to form in one line down
the middle of the hall, you may have to form a line down
either side. In this ca$e you will have two double columns
facing the head of the hall. And each column will have to
execute its own grand march without intermingling with
the other, and by staying always on its own half of the floor.

After many possible variations of the Grand March you
end with an eight by eight, or a column eight, and each set,
of course, forms one of these groups of eight abreast. Now,

140 COWBOY DANCES

if they are directed to circle eight, the two end dancers of
each eight circle around and take hands so as to form a
closed ring, and a swing and a promenade will put them all
back in regular position on the floor as the sets were at the
beginning of the dance. Or you can slip in as many com
plicated figures as you like before you promenade them to
their home positions.

The other dances of this intermingling type can be
danced either entirely within each set as a unit or inter
mingling with other sets for the length of the hall. Perhaps
it will be best to get a picture of their structure within a
single unit before complicating them with too much
intermingling.

The essential pattern is achieved by moving the first
couple to the second and calling for a four and a half, which
means for them to join hands and circle four half way
around. This leaves the first couple facing the center of the
set, the second couple with their backs to the center and
beyond them the fourth couple. This puts three couples in
a row. If the first couple, with some such figure as a right
and left through or an arch, passes through the second, they
are facing the fourth. Now as they pass through the fourth
with the same figure, the second couple can be turning
around and again face the center of the set. The fourth,
having passed through, is now in the middle facing the
second. The fourth passes through the second while the
first turns around, now leaving the second and first facing
each other for another pass through. And so they could go
on, shuttling back and forth forever.

Now, if there were another set, the two sets could shuttle
across the hall with six couples passing through each other
alternately, in which case each couple must remember to go
clear to each wall and back before they are home and all
straightened out. Or if the second couple leads out to the
third on the first repetition of the dance, second, third, and
first couples are in line in each set, and if there are many
sets on the floor each couple can pass through to the ends
of the hall and back.

If a half dozen sets intermingle in line to the two ends
of the hall and back it will prove quite enough, and the odd
couples will simply have to stand and await their turns. In
a single set we often call only four passes, which leaves the
active couple in the center, and the side couples each stand-

TYPES OF DANCES 141

ing in the other's place on the wrong sides of the set. The
active couple now circles four with the odd couple ok, and
around and around with a docey-doe, which tends to pacify
this odd couple, before the active couple goes on to the right
with another four and a half, putting the three couples again
in line. Now four more passes will put each couple back in
its own place, the active couple in the center, and as soon
as they balance home, a left allemande and a grand right and
left can finish off that quarter of the dance, but with many
sets intermingling the odd couple awaits their turn.

Irregular Types

There are a few dances that seem to fit into no classifi
cation or type. Sometimes you may have two that are alike
enough to make a type, but two are hardly enough to merit
a title. ^ For instance, in the Figure Eight the dancers join
hands in a line and parade around in single file. In the
Grapevine Twist they do the same, turning in and out
through each other as they march. But this is hardly
enough to justify a type in our classification.

Therefore, in the second part of this book, where the
calls are given, I shall lump all of these dances together
in one irregular section. And there are some mighty fine
dances to be found here. These dances are only irregular
in the sense that they fit in no regular classification.

Now and then we do find a completely irregular dance, so
irregular that it seems impossible. One night I was dancing
with the Old Town Friendly Club (Old Town being the
familiar name for Colorado City, the first territorial capitol
of Colorado). A strange little man who had been dancing
with us, though no one had ever seen him before, announced
that he was a caller and asked permission to call a square.
The whole party blew up when he called the first couple
out to the left. There was not a person there who had ever
seen the first couple go left, or what they called "back
wards." But he stoutly insisted that as many dances went
left as right, so they tried his dance. I wrote down the call
which was as follows :

First couple out to the left

And face the wall.

Put on style and back to the hall,

142 COWBOY DANCES

And swing a little while.
Four hands 'round
And gents patter down.

But he couldn't make them understand what he wanted.
On his gents patter down he insisted on a back-handed
docey-doe which he called an Allemande left with four.
Some of our old dancers had danced in squares for over
sixty years, but they could make nothing out of his call.
After their first try and hopeless confusion they stood
laughing at him, and he went home in a huff, so very
irregular that he could fit nowhere in our scheme of things.

Original Dances

Surely it is obvious that every dance in existence had to
be done a first time by someone. Some, to be sure, are modi
fications of older dances, but each modification also had to
be done for the first time. In dancing especially is it true
that "there is nothing new under the sun." The arrange
ment of old elements in each dance, and its pattern, was
original sometime with someone somewhere. Only the dead
tree ceases to put out shoots. Surely it is a sign of vitality
for each caller to experiment a little with some new call or
new arrangement. I have only had time to do a little of this,
but I simply could not help inventing a few new dances of my
own, borrowing from European folk-dance figures, or from
any figure that I thought might be used.

I have put a few of these original calls as my very last sec
tion. I have not separated them for distinction or for apology,
but as a challenge to other groups to make their own. Since
many readers will want to be able to distinguish the old and
traditional from the new and brash, it seems only fair to
admit that these are not old traditional dances of the West
ern pioneers. They are simply experiments on the old square
frame done for pure fun,

Exhibition Dancing

If your group should become familiar with many of the
old dances they are pretty sure to be called upon to exhibit
them somewhere. If they do, there is one last suggestion that
I should like to make. Keep them alive and up to tempo, and
avoid as many repetitions as possible.

TYPES OF DANCES 143

When many sets are dancing by themselves for the pure
enjoyment of the dance (the only real justification, after
all) they may prefer a slow and easy tempo. And they will,
of course, want to do each dance completely, each couple tak
ing its turn at leading each figure. But this is deadly to
watch. The first time through is interesting; the second
repetition may help you in your better understanding of the
figure, but the third and fourth repetitions drag until from
an audience's point of view they are almost unbearable.
And if, as often happens in a contest, some other set uses
the same call and drags through it all again for four more
times, it is almost beyond audience endurance.

Often at a contest the judges are old dancers themselves,
and they somehow feel that it isn't a real dance unless it
repeats itself through the full four times, and in loyalty to
the past they will sit through it even if it kills them. But
I believe and have often urged, without much avail, that if
each couple were called out on a brand-new call it would
not only give the variety of four different changes but would
be a much better test of the ability of both the caller and the
dancers. The w r eight of tradition says, "No !" However,
when you are exhibiting you wish to make the thing you
exhibit as attractive as possible. There is no one to say you
nay, and I feel you should speed it up and give as many
samples of the square dance as your time will permit. A
few old-timers, with a loyalty to their past, may object, but
I believe even they will enjoy the program more in spite of
(or perhaps because of) their objections.

Indeed, a group of young dancers in a private dance of
their own enjoy and even beg for a change of call for
each couple, even when there is no audience. I believe that it
is good to indulge them now and then. It takes four times as
much memory and four times as much ingenuity to carry a
whole evening through that way, but the caller's job is to
give the very maximum of enjoyment to the group he has
before him on the floor.

Little Children

One last word ! Please do not teach these dances to little
children. Grade-school pupils may enjoy them but it will
mark the dances forever in your community with the stigma
of "kid stuff." Well-meaning gymnasium teachers have

144 COWBOY DANCES

taught the splendid circle folk dances of the peasants of
Europe to girls' gymnasium classes and to little children,
until folk dancing is popularly thought of as "sissy stuff,"
and most manly chaps will have nothing to do with it with
out a deal of tactful educating.

Not only are the dances so vigorous and manly and
strenuous that they are quite unsuited for girls' classes or
children but they will thus be killed for everyone. If, in your
community, you can start the dances with the manliest and
most popular young fellows, with older men mixing in, the
program will become a great joy. But if you see any well-
meaning woman trying to teach them to children or to
classes of girls, please rush to the nearest court and get out
an injunction to keep her from robbing the adult public of a
precious sport that really belongs to it. Also, the children
who are incapable of getting more than half the fun out of
them, will be robbing themselves of those adult pleasures
which they have a right to when they grow up, and which
they themselves will have destroyed as children. Even when
you organize an adult group you may find children a prob
lem. Some women whose husbands cannot or will not dance
with them, will bring small sons, who can hardly reach to
the waists of the partners they will have to swing. And
small daughters will beg to come and make the dance equally
impossible for the men. To be sure a full set of children
would do no harm at all at an adult dance, unless they tried
to take more than their share of the attention or of space;
in fact, the old-time dances were community affairs. Chil
dren would form sets off in the corners and become quite
expert. The whole family would be there. When I am in
vited to an old-time dance in this year of our Lord, I always
know it's the real thing, if I see a few baskets on chairs
around the edge of the hall with tiny babies sleeping in them,
oblivious to all the noise and fun their parents are making.
But that is an entirely different kettle of fish 'from making
these adult dances into a "child activity program."

Part
II

The
Calls

r

J
V.

The
Framework

Introductions

EACH square dance opens with an introductory figure.
There are several standard introductions. Any one of
these can be substituted for any other according to the
fancy of the caller ; in fact, he should use enough different
introductions during the evening to assure variety.

There are also many different standard ways of calling
the "grand chorus/' or ending, for each section of the dance.
These endings likewise should be shuffled and changed and
chosen for the sake of variety.

The docey-doe "call" or the "subchorus" also has many
variations, especially in the patter which fills it out. A good
caller should make use of all these variations, shifting and
changing them to suit his own fancy and to please his crowd.

For each of these dances given in the next section, there
is given a standard introduction and a standard ending,
chosen more or less at random. This will help the beginner
and give him a complete call, as it will help the literary
dilettante who may also want an example of a complete call.
But for those given an experienced caller must substitute
introductions and endings of his own choice.

In the following pages we have assembled some of these
framework elements of the dance, so he will have them all
in one place and be able more easily to make his choice and
his own substitutions. In fact, he should get them all so
well in mind that their use is instinctive.

See page 56 for description of square position. Each
term will be described fully the first time it is used in this
section. Refer back or turn to the glossary if the same term
is used later without explanation.

148 COWBOY DANCES

A flourish!

Used sometimes instead of "All set" or "Ready now"
before the dance figure begins.

Everybody in your places,
Straighten up your faces,
Loosen up your belly-bands
Tighten up your traces
For another long pull.

In Colorado I have always heard this given without the
third line. But in Arizona this third line proved the favorite.

(1) INTRODUCTION:

Honors right and honors left,

All join hands and circle to the left.

Break and swing and promenade back.

(Explanation: The call is always for the men, with the
ladies doing the complementary step. Therefore, the men
bow to their partners, on their right, then to the ladies on
their left. Then all eight join hands and circle around to
the left until the call break. They then take a modified dance
position (almost face to face with the man's right arm
around the lady's waist, his left hand extended and sup
porting her right hand, and her left hand resting on his
shoulder. It is best for them to stand a little off center with
right hip against right hip.) They swing around or pivot
twice to the right (in the direction each is facing). They
then take the promenade position (side by side with the lady
to the right and with hands grasped, right in right and left
in left, and the man's right arm crossed over the lady's left)
and in this position march back (counterclockwise) to their
original positions, ready for the main part of the dance.

See pages 58-62 for more complete discussion and for
illustrations.

(2) INTRODUCTION:

Salute your company and the lady on the left,
All join paddies and circle to the left,
Break and swing and promenade back.

(A variant in call of the same introductory figure de
scribed above.)

THE FRAMEWORK 149

(3) INTRODUCTION:

Salute partners, salute corners,
Join hands and circle 'round,
Swing 'em hard and trot 'em home.

(A shorter variant of the same introductory figure.)

(4) INTRODUCTION:

All jump up and never come down,
Swing your honey around and around,
'Till the holloio of your foot makes a hole

in the ground.
And promenade, oh promenade!

(Explanation: With a "holler" all jump as high as they
can. As they come down each couple takes the modified dance
position and spins dizzily until the call directs them to take
the promenade position. They then promenade once around
the circle to the right, counterclockwise, and back to their
own places.)

(5) INTRODUCTION:

One foot up and the other foot doivn,
Grab your honey in your arms
And turn her around,
And allemande left as you come down.
Now promenade your honey round.

(Explanation: Usually danced as in No. 3 with a jump
into the air and then a vigorous swing with your partner.
But sometimes it is danced literally by partners facing each
other (or all facing center) and each raising the right knee
as high as possible, in an exaggerated loosening-up exercise
and then the left knee as high and the partners swing. Then
each man turns to the lady on the left, and taking left hands
with her turns once full around her and back to his partner
with whom he promenades around the square and back to
his own position.)

150 COWBOY DANCES

(6) INTRODUCTION:

One foot up and the other foot down,
Grab your little sage hens and swing 'em

around.

Left allemande and a right hand grand,
And promenade, oh promenade.

(Sometimes "little heifers" is substituted for "little sage
hens/')

(Explanation: This is the same as JNo, 4, except that
after the left allemande, when each man turns the left hand
girl with the left hand he gives his right hand to his partner,
and each passes by to the next, to whom they give a left
hand, then the next with the right, etc., moving in a ser
pentine, all men circling to the right or counterclockwise and
all the ladies circling to the left or clockwise. This, of course,
is the grand right and left. When partners meet they take
the promenade position and continue in the man's direction
(counterclockwise) back to their places.)

See pages 47-53 for more complete discussion and illus
trations of the allemande.

(7) INTRODUCTION:

Up and down and around and around,
Allemande left and allemande aye,
Ingo bingo, six penny high,
Big pig, little pig, root hog or die.

(Explanation: Danced exactly the same as No. 6, but
put up in a more fancy and colorful call, which was first
given to me by an officer on the Denver police force who had
remembered it from his boyhood.)

(8) INTRODUCTION:

Everybody swing his prettiest gal.
Left allemande and a right hand grand,
And promenade, boys, promenade,

(Explanation: The same as No. 6 but without the pre
liminary jump or raised knee, it starts right in with the
swing.)

THE FRAMEWORK 151

(9) INTRODUCTION:

All eight balance, all eight swing.
A left allemande and a right hand grand.
Meet your partner and promenade eight
'Til you come straight.

(Explanation: Partners face each other, and each steps
back four steps, then forward four steps and then they
swing. From the swing it finishes exactly as No. 6.)

(10) INTRODUCTION:

Siving your partners don't be late.
Noiv swing on the corner like swingin* on

the gate.
Noiv your own and promenade eight.

(Explanation: Each gentleman swings his partner
twice around, then he turns to the lady on his left, "his
corner," and swings her twice around. Then he swings his
partner again and promenades with her around the set and
back to his own place.)

(11) INTRODUCTION:

Everybody swing his prettiest gal
And promenade, boys, promenade.

(Explanation: Each gentleman takes his partner in
regular dance position and swings her twice around. He then
promenades with her around the set in a counterclockwise
direction and back to place.)

Endings*

Used as a grand chorus after each couple has gone all around with

a change.

(1) ENDING:

S'wing, swing, everybody swing!

(Explanation: Usually used to precede most of the
following endings, but occasionally used alone, without even
a promenade.)

Note* Quite often endings and introductions are used inter
changeably. One may be substituted for the other.

152 COWBOY DANCES

Allemande Group

(2) ENDING:

Swing the left hand lady ivith your left hand,
Right hand to partner and right and left grand.
Meet your partner and promenade.

(Explanation: The simplest ending call for beginners
since it specifically explains the "allemande" without using
the word. Each gentleman takes the left hand lady's left
hand in his own left hand and walks completely around
her and back to place. This leaves partners now facing each
other. They take right hands and pass each other giving
left hands to the next lady or gentleman and so on around
alternately right and left in a serpentine, the men moving
counterclockwise, the column of women clockwise, until
they meet their partners with whom they promenade (con
tinuing in the men's direction or to the right) until they
get back to their own positions.

See pages 47-53 for more complete discussion and for
illustrations of the allemande.

(3) ENDING:

Allemande left with your left hand,

Right hand to partner,

And right and left grand.

Promenade eight when you come straight.

(Explanation: The commoner call and executed exactly
the same as No. 2.)

(4) ENDING:

Swing your partners all around,
Allemande left as you come doivn,
Grand right and left and so on around,
Right foot up and left foot doivn,
Make that big foot jar the ground,
Now promenade your honey 'round.

(Explanation: No. 1 and No. 2 combined into one call
which is expanded with "patter" to time more exactly.
Execution same as No. 2 but with a preliminary swing.)

THE FRAMEWORK 153

(5) ENDING:

AUemande left, oh a left hand swing,
Grand right and left around the ring,
Hand over hand ivith the dear little thing.
Promenade, boys, promenade.

(Explanation: Same as No. 2.)

(6) ENDING:

Left AUemande, and a right hand grand,
Plant your 'taters in a sandy land,
And promenade home!

(Explanation : Same as No. 2.)

(7) ENDING:

AUemande left

And grand right and left.

Meet your partner and turn right back.

(Explanation : Same as No. 2, except that when partners
meet in the grand right and left they take right hands and
turn completely around each oth6r, so they are facing in the
opposite directions. Then they do a right and left in reverse
direction until they meet their partners. They then prome
nade in the regular direction.,)

(This "turn right back" can be used with any right and
left ending. It is sometimes called Meet your partner and
take the back track.)

(8) ENDING:

AUemande ho, Right hand up,
Around we go!
Promenade!

(Explanation: The same as No. 2 but reduced to the
shortest call I have heard for this common ending.)

(9) ENDING:

Balance home and swing 'em all 'round,
AUemande left as you come down,
Grand right and left, and so on around.
Meet your honey and promenade.

154 COWBOY DANCES

(Explanation: The same as No. 2 but preceded by a
balance and swing, that is, the partners step back from each
other four steps, then together and swing.)

(10) ENDING:

All eight balance and all eight swing.

A left allemande

And a right hand grand,

Meet your partner

And promenade eight

'Til you come straight.

(Explanation: Same as No. 9.)

(11) ENDING:

Balance home and swing 'em all night,
Allemande left go left and right.
Oh some'll go right and some'll go le-e-e-ft.
Now promenade.

(Explanation: Same as No. 9. The caller usually drags
out the final "left" in a long nasal chant.)

(12) ENDING:

Balance home and siving 'em all day,
Allemande left in the same old way;
Hand over hand and right and left grand,
Oh, some'll go right and some'll go le-e-ft.
Now promenade.

(Explanation: Same as No. 9 or No. 11.)

(13) ENDING:

Siving on the corner, and have some fun,
Allemande left with the one you swung.
Right hand to partner and trot right along.

(Explanation: Each gentleman first swings the corner
girl (his left hand girl) then does an allemande left with
her, then a grand right and left.)

THE FRAMEWORK 155

(14) ENDING:

Swing on the corner like s win gin' on a gate.
Now your own if it ain't too late.
Note allemande left with your left hand,
Right hand to partner and right and left grand.

(Explanation: Each gentleman first swings his corner
lady, then he swings his partner, and then proceeds as in
No. 2.)

(15) ENDING:

Now you're home and all eight swing,

Swing on the corners,

Swing your own.

Swing the opposite,

Now your own.

Left allemande, a right hand grand.

Meet your partner and promenade.

(Explanation: After partners swing, each gentleman
swings his left hand lady, and then his partner again. He
now crosses the set and swings the lady of the opposite
couple, and then back to swing his partner again. Then
finishes by executing the same as ending No. 2.)

(16) ENDING:

Swing your opposite across the hall,
Now the lady on your right,
Noiv your opposite across the hall,
Now your own and promenade all

(Explanation: In this ending the ladies stand in posi
tion and wait for the men to come to them. When all four
men cross the set to their opposites at one time it makes a
traffic jam in the center. If they all touch right hands as
they pass each other, it makes a neat figure. But they
usually prefer to collide and make a knot of it.

Each gentleman crosses the set and swings the opposite
lady. He then goes to the next lady around the set in a
promenade direction and swings her, that is his right hand
lady when he is facing the center of the set. He then crosses
again to the opposite lady from her and after swinging her,

156 COWBOY DANCES

he returns to his partner, swings her and they all promenade.
The second line is sometimes called "Now your right hand
ladies all."

This is a common and delightful ending. To make it
clearer let us illustrate for the first gentleman. He swings
the third lady, then the fourth, then the second, and then
his own.)

(17) ENDING:

Swing your opposite across the hall,
Noiv siving your corners,
Now your partners,
And promenade all,

(Explanation: A shorter version of No. 16 in which the
gentlemen only cross the set once. By corners the gentle
men's original corners are meant, not the new corner count
ing from the opposite; that is, the first gentleman, for in
stance, swings the third lady, then the fourth lady and then
his own.)

(18) ENDING:

Balance one and balance all.
Swing your opposite across the hall.
Now your own if she ain't too small.
And promenade, boys, promenade.

(Explanation: After a preliminary balance, this is a
yet shorter version of No. 16, in which the gentleman swings
the opposite lady and then right back to his partner. It
sometimes ends with an allemande left and right and left
grand before the promenade. The third line is sometimes
called Now your own if you're not too tall.)

(19) ENDING:

Noiv siving your opposite across the hall,
You haven't swung her since last fall.
Now trot home and swing your own,
And thank your stars the bird ain't flown.
Now promenade.

(Explanation: The same as No. 18 but with a little
patter to fill out the call.)

THE FRAMEWORK 157

(20) ENDING:

Hurry up, boys, and dorit be sloiv,
Meet your pard' ivith a double elbow.

(Explanation: This is an additional call, only given
when they are finishing the grand right and left of any of the
preceding calls. It adds a more complicated figure.

As each gentleman meets his partner, instead of prome
nading, they hook right elbows and swing around to the
right for two counts, then hook left elbows and go to the
left for four counts, usually with a high springing step.
Each man then advances to the next girl and hooks right
elbows with her and then left elbows. .Then to the next
lady whom he. "double elbows" and so .on back to his own
lady with whom he promenades.

To count it carefully and keep everyone together in their
changes it is necessary to allow two extra counts, one while
changing from the right elbow to the left elbow with each
girl and the other while changing from one girl to the next.
The count then becomes one, two, change (elbows) , one, two,
three, four, change (girls). Once this pattern is established
it is easier to do it all to the count of eight for each girl.

In some communities they count four with the right
elbow, four with the left elbow, two for the change. This
unfortunately gets the whole count off of the four bar basis.
It is sometimes called :

Change your pards and don't be slow,
Swing 'em all with the double elbow.

(21) ENDING:

Watch your honey and watch her close,
Treat your honey to a double dose!
Swing 'em high and swing 'em loiv.
Keep on sivingin' that calico!
Right foot up and left foot doivn,
Whirligig, Whirligig, Whirligig 'round!
Rope your cow and brand your calf,
Swing your honey an hour and a half!
Here I come with the old mess wagon,
Hind wheel broke and the axle draggin'.
Meet your honey and pat 'er on the head,
If she don't like biscuit give her cornbread!
Promenade, boys, promenade!

158 COWBOY DANCES

(Explanation: Just the same as No. 20 but with con
tinuous patter to fill out the call. In No. 20 the caller has to
stay quiet for a long while as the double elbow is being
done. This call gives him something to amuse himself with.)

(22) ENDING:

It's once and a half, boys,

Meet your partner and once and a half.

Sold my cow and wealed my calf.

Swing the reel with a once and a half!

Winnow the wheat and blow the chaff.

And swing the next one once and a half!

Make 'em chuckle and make 'em laugh,

Swing the next one a half and the other half too.

When you meet your pard, you know ivhat to do!

It's promenade, boys, promenade!

(Explanation: Since this usually follows a grand right
and left the first line is a warning line, and the second line
starts the swing. There is enough patter to fill in most of
the dance.

This dancfc must never be danced as in No. 21, the double
elbow, although unfortunately and all too often it is care
lessly so danced. A once and a half, which is a common fig
ure in European folk dances, must be the origin of the dance,
and the call has retained the phrase, but too often it is exe
cuted incorrectly as a double elbow. In a true once and a
half which we should do for this call each gentleman swings
his girl with his right elbow, completely around once and
then continues for another half, which puts him beyond her.
(That is, if he stands facing a girl, he hooks elbows, and
swings her once around he will be back just where he
started from. But if he continues a half swing more, he will
be on the other side of her.) He then goes on to the next girl
and hooks left elbows with her, swings once and a half and
advances to the next. He hooks rights with her and swings
once and a half with her, then on to the next with his left
elbow. It is really grand right and left done without a re
verse, swinging each girl once and a half around, the first
girl entirely with the right elbow, the second girl only with
the left, the next girl with the right, and the last one with

THE FRAMEWORK 159

the left. The next to last line of the call Sioing her the half
and the other half too indicates to me, alas, that it is all too
often done as a double elbow. But it shouldn't be.

(23) ENDING:

Promenade in single file,

And just let me remind you,

To turn right back on the same old track

And swing that girl behind you.

(Explanation : The entire group promenades around the
set in single file, with each lady preceding her partner. On
the call turn right back each gentleman turns around (right
face or toward the outside of the circle) and swings the girl
behind him, twice around. He then puts her down in front
of him and they promenade in single file again. Thus each
time he turns back and swings a new girl. This call has to
be repeated three times (four times in all) until each
gentleman gets his own lady back. The caller usually then
adds :

Promenade to places now.

and they all promenade in couples back to their own
positions.

A slight variant of this call that is sometimes heard is :

Noiv single promenade with the lady in the lead.
Turn right back in the very same track,
And swing that girl behind you.

(24) ENDING:

Promenade in single file

Lady in the lead and Indian style,

Turn right back and siving 'em aivhile.

(Explanation: The same as No. 23 except on the word
'Indian style" the dancers usually crouch and with hands
over mouths give an Indian war whoop.)

A variant of this call is :

Break that circle ivith the lady in the lead,

Single file, Indian style,

Stop and swing her once in a while.

160 COWBOY DANCES

Finish Phrases

At the end of the first "tip," when the first dance is
finished and the dancers remain in their sets ready for the
second tip, you may hear such phrases as the following :

1) Swing your honey,
And there you stand,

2) There you stand!

3) That' sit!

4) You're done!

When the second "tip" is finished and the dancers are
to return to their seats the following finish phrases may
be heard :

1) Keno! Promenade to your seats!

2) Promenade! You know where and I don't care,
Take your honey to a nice soft chair!

3) Lead her out and give her air!

4) Meet your partner and promenade there.
Take your honey to a rocking chair!

5) Hurry up girls and don't be slow,
Kiss that caller before you go!

Docey-Doe Calls

All docey-does are essentially the same in execution, but
a great variety of calls can be used, especially in the way of
nonsensical patter, which fills in while the figure is being
executed. In the following variants no notes will be given
if the execution is standard.

(1)

Circle four and docey-doe.

(Explanation: Two couples join hands in a circle of
four with each lady on the right side of her partner and
opposite the other lady. The four circle to the left or
clockwise. Each gentleman then passes his lady's left hand
from his right hand to his left, in such a way that at the
moment of break she passes beyond the opposite lady or

THE FRAMEWORK 161

between the opposite couple. She now makes a left turn,
taking his left hand with her left hand. And the two
gentlemen remain facing each other, while each passes his
lady behind him (letting go her hand as soon as necessary)
and reaches out with his right hand and takes the opposite
lady, who is coming around from behind the opposite man,
by her right hand, and without turning away from facing
the opposite man, passes her around behind him. He now
reaches out with his left hand and takes his partner, who has
just passed around the opposite gentleman, by her left hand.
Still holding her left hand in his left, he puts his right hand
behind her waist and turns her to whatever new position the
dance calls for. For a complete discussion of the docey-doe
see page 108.)

(2)

Four hands up and here we go,
. Around and around and a docey~doe.

(Explanation for this and the following variations of the
call is the same as No. 1.)

(3)

Docey-doe ivith the gent you knoio,
Ladies go C and the gents go doe!

(4)

Four hands round, and round you go.
The ladies go C and the gents go doe!

(5)

Four hands round.
Gents patter doivn,
Ladies step out f
And go to town.

(6)

Four hands up and around you go,
Docey ladies and gents solo,

(7)

Four hands up and around we go,
Ladies docey docey-doe!

< 8 >

Break amd circle four in a ring,

With a docey-doe and a docey-ding!

162 COWBOY DANCES

(9)

Four hands up and here we go
Around and around and a docey-doe.
Doe and a dough and a little more dough,
Chicken in a bread-tray pickin' up the dough,
One more change and on we go.

(10)

Circle four ladies doe and the gents say "no."
Chicken in a bread-tray pickin' up the dough,
Some use a shovel and some grab a hoe,
One more change and on we go.

(11)

Four hands up and here we go,

Around and around and a docey-doe.

Hurry up boys and don't be slow,

You'll never get to heaven if you don't do so.

One more change and on you go.

(or the last two lines are sometimes heard)

You'll never kiss your uncle if you don't do so.
One more change and home you go.

(12)

Circle four in the middle of the floor,
Half ivay round as you did before.
Ladies doe and the gents you know,
Hurry up boys and roll your dough!

(13)

Docey lady and docey gent,

Docey lady and on yo^(, went,

Docey lady and a docey-doe,

Docey lady and on you go!
(14)

The ladies doe and the gents you knoiv,

By gosh! You ought to know,

With a million doses of docey-doe.

One more change and on you go!
(15)

Up the river and around the bend,

Four hands half and goin' again.

Ladies doe and the gents you know.

One more change and home you go!

THE FRAMEWORK 163

(Though I have often heard this call, the first line of its
patter seems contradictory to the figure. And I have an
uncorroborated feeling that up the river and around the
bend was a southern phrase for the allemande left.)

(16)

Ladies doe and the gents you know,
Four hands up and around you go!
Around and around and a docey-doe.

(In older groups when a docey-doe call begins this way,
the two ladies do a dos-a-dos or back to back, each lady ad
vancing to the opposite, passing right shoulders, stepping
sideways back to back, and still facing the same direction
walk backward to place (passing left shoulders in going
back) . The two men then do a dos-a-dos. And then they all
circle four and do the standard docey-doe described above.)

(17)

Circle four

And swing your opposite with your right,

Noiv your partner with the left,

And on to the next,

(This simpler call is sometimes substituted for the
docey-doe with a group of beginners. You will note that it
is actually the last half of the docey-doe and does not begin
by the gentlemen passing the partner from right to left
hand and around behind, then to the left, but takes up the
figure from that point. Incidentally some groups do this
twice, in place of a docey-doe. See page 117.)

(18)

Four hands half,

A right and left thru,

And on to the next.

(This is sometimes heard as a substitute for the docey-
doe. The two couples join hands and circle left halfway
around. The two couples then pass between each other,
with the ladies passing between the opposite couple, and
the gentlemen on the outside. Each gentleman should give
his right hand to the opposite lady as he passes through,
then take his partner's left hand in his left and with his
right hand around her waist lead her to the next position.)

164 COWBOY DANCES

(19)

Circle four,
Now ladies chain.
And chain right back!
On to the next. .

(Another substitute that is sometimes used for the
docey-doe to add variety to a dance. After circling, each
lady takes the opposite lady by the right hand, passes her
and gives her left to the opposite man, circles him, and
crosses again giving her right to the opposite lady, and then
her left to her partner who turns her around and leads her
on to the next figure.)

(20)

Circle four,

Ladies change with the right hand cross,

Now back ivith the right to the same old hoss!

(Same figure as No. 19.)

Docey-

Doe
Group

In which each couple visits around the set, doing a
simple change and then a docey-doe with
each couple they visit. See page 108 for
a discussion of the docey-doe, and
the pages immediately preced
ing for a variety of calls
for this figure.

EXPLANATION OF DIAGRAMS

unr

fNTLEMAN

The squares represent the gentlemen (think of square shoulders)
and the circles represent the ladies (think of curves). The letter S
shows the position of the swing,

When there is more than one swing, they are numbered with sub
scripts to show the order of the swings. Occasionally the tracks of
action are also numbered to show the order in which they are followed.

Dotted and solid lines have no significance except to keep different
tracks from being confused with each other,

The portion of the action which a diagram represents is indicated
by the letters under it "B" and "C" would indicate that it represents
that section of the call numbered "b" and "c."

The number in the circle or the square indicates whether it is the
first, second, third, or fourth lady or gentleman,

By noting the crook or bend of the arm in some diagrams you
can determine which direction a figure is facing,

STAR BY THE RIGHT

Star by the Right

167

(A very simple dance for beginners, In which only the last half of
the docey-doe is used.)

THE CALL:

1, Honors right and honors left;

All join hands and circle to the left;
Break and swing and promenade back.

2. a) First couple out

To the couple on the right.

b) Form a star with the right hand cross

c) Back with the left and don't get lost.

d) Swing your opposite with your right;

e) Now your partner with your left,

f ) And on to the next.

Repeat 2 as written beginning with (b)
Repeat again, changing last line to :

g) Balance home.

3. And everybody swing

Now swing the left hand lady
With your left hand.

Back with the left and don't get lost.

168 STAR BY THE RIGHT

Right hand to partner

And right and left grand.

Promenade eight when you come straight.

Repeat 2 and 3 entire for second, third, and fourth
couples.

THE EXPLANATION:

1. See page 148 for directions, or substitute any other intro
duction described there.

2. a) First couple join hands and walk to second couple.

b) All four turn left face and join right hands held high
and inarch around for four steps, still holding hands.

c) Break holds, and each does a rightabout-face, and
they all join left hands and march back.

d) Break holds; first gentleman takes second lady by the
right hand and swings her around behind him and
releases hold. Second gentleman does the same thing
with the first lady.

e) Each gentleman takes partner by left hand and swings
her around behind him to place,

f ) First gentleman takes partner's left hand in his right
and advances to the third couple, being sure his part
ner is on the right side when he faces the new couple
with whom they repeat b through /. On next repeti
tion he advances to the fourth couple.

g) After the last repetition he walks back to place with
his partner, and all four couples do a balance by sep
arating four steps then coming together again.

3. See page 152 for directions or substitute any other ending
described there.

VARIATIONS :

The figures (b) and (c) are sometimes called as follows:
1) Star by the right
And how do you do?
Back with the left,
And how are you?

STAR BY THE RIGHT 169

or 2) Form a four hand cross
And how do you do?
Now cross with your left,
And how are you?

These variations can be alternated with the regular call
in repetitions of the figure. Or sometimes a caller will make
up a long string of variations such as :

Star by the right; did you get a letter?
Back with the left; yeh, the folks are better.

o o o

Star by the right; and how are you hittin'?
Back with the left; let's do some sitting

50 O $

Star by the right; its warmish weather.
Back with the left; keep stompin' leather.

VARIATION: Right Hand Back to the Lady's Left

This very simple dance can be made fun for experienced
dancers by using the following substitution for d), e), and

*)

Right hand back to the lady left,

Break with the left and pull her through,

Shuffle along with the old choo-choo,

Now you're doing the docey-doe,

A little bit of heel and a little bit of toe,

One more change and on you go.

But don't attempt this until you are familiar with the
movements of the docey-doe in the dances that follow. Then
you will find that if the gentlemen put their right hands back
over their left shoulders and join right hands with this lady
on the left, while still continuing with left-hand star, they
will instinctively pull the lady through and around behind
them when they break with their left hands. Thus your lady
also will have passed through and will now be coming around
from behind your opposite, and if you take her with the left
hand and behind you, you will find you are now starting a
regular docey-doe. And it's very good fun.

170 LADY ROUND THE LADY

Lady Round the Lady

THE CALL:

1. Honors right and honors left.
All join hands and circle to the

left.

Break and swing and promenade
back.

2. a) First couple out

To the couple on the right.

b) The lady round the lady

c) And the gent so loiv.

d) The lady round the gent

e) And the gent don't go.

f ) Four hands up and here we go
'Round and around and a docey-doe.

g) On to the next.

Repeat 2 as written, beginning with (b)
Repeat again changing last line to :

h) Balance home.

Lady round the lady and the gent so low.

LADY ROUND THE LADY 171

And everybody swing
Noiv allemande left with your left hand.
Right hand to partner and right and left grand.
Meet your partner and promenade!

Repeat 2 and 3 entire three more times (for second,
third, and fourth couples).

THE EXPLANATION:

1. See page 148 for directions or substitute any other intro
duction described there.

2. a) First couple join nearest hands and advance to second

couple.

b) The first lady passes between second couple (who
must separate a few steps) and walks to the left
around the second lady either still holding her part-
near's hand or independently of him.

c) The first gentleman follows her around the second
lady one step behind her.

d) The first lady passes between the second couple again
and turning right encircles the second gentleman ; that
is, she completes a figure eight around the second
gentleman.

e) The first gentleman does not follow but stands facing
the second gentleman with the second lady on his left
hand.

f ) Finishing her circle, the first lady comes between the
first and second gentlemen, and all four join hands
and circle to the left.

See page 160 for directions for docey-doe or sub
stitute any other of its call variations.

g) First couple advances to the third couple, the lady
slightly in advance and repeats (b) to (g) . On the
next repetition they advance to the fourth couple and
repeat (b) to (g). After the last repetition:

h) They return to their own position in the square, and
all four couples balance.

3. See page 152 for directions, or substitute any other ending
found there.

172

TWO GENTS SWING WITH THE ELBOW SWING

Two Gents Swing with the Elbow Swing

THE CALL:

1. All jump up and never come down,
Siving your honey around and

around,

'Til the hollow of your foot
Makes a hole in the ground,
And promenade, boys, promenade!

2. a) First couple out to the right.

b) Two gents swing with the elbow swing.

c) Now opposite partners elbow swing,

d) And now two gents with the same old thing,

e) And now your partners elbow swing.

f ) Noiv circle four, oh, circle four

And docey-doe with the gent you know.
The ladies go si and the gents go do.

g) And on to the next.

Repeat 2 as written, beginning with (b) .
Repeat again changing the last line to :
Balance home.

Two gents swing with the elbow swing*

TWO GENTS SWING WITH THE ELBOW SWING 173

And everybody swing.

Now swing your opposite across the hall,

Noio the lady on your right,

Now your opposite across the hall,

And now your oicn,

And promenade all!

Repeat 2 and 3 for second, third, and fourth couples.

THE EXPLANATION:

1. See page 149 for directions or substitute any other intro
duction given there.

2. a) First couple advances to second couple.

b) The two gentlemen hook right elbows and swing
around once and a half.

c) Each gentleman hooks left elbows with the opposite
lady (first gentleman with second lady and second
gentleman with first lady) and swings once around.

d) Two gentlemen again hook right elbows and swing
once and a half around.

e) Each gentleman hooks left elbows with his partner
and swings her once around. He releases her so that
she is standing on his right as he faces the opposite
gentleman.

f) See page 160 for directions for docey-doe or for pos
sible substitute calls.

g) First couple with the lady on the right advances to
the third couple and repeats from (b). On the next
repetition they advance to fourth couple and repeat
from (b) and finish by returning to their places in
the square, where each couple balances.

3. See page 155 for directions or substitute any other ending
given there.

174

STEP RIGHT UP AND SWING HER AWHILE

Step Right Up and Swing Her Awhile

5

)

THE CALL:

1. Everybody swing his prettiest gal,
And promenade, boys, promenade!

2. a) First couple out to the couple on the right

b) And honors all!

c) Step right back and watch her smile
Step right up and swing her awhile.

Step right back and watch *@m grin.

STEP RIGHT UP AND SWING HER AWHILE 175

d) Step right back and watch 'em grin
Grab your own and swing her again.

e) Four hands up and here we go
'Round and around and a docey-doe.

f ) On to the next.

Repeat 2 as written, beginning with (b) .
Repeat again changing last line to :
Balance home.

3. And swing 'em all day.

Allemande left in the same old way.

Now hand over hand with the dear little things.

Promenade eight when you come straight.

Note: (See page 234 for longer and commoner ar
rangement of what is apparently the same call.)

THE EXPLANATION:

1. See page 151 for directions or substitute any other intro
duction described there.

2. a) First couple joins near hands and advances to second

couple.

b) First gentleman and second lady bow deeply to each
other while the first lady and second gentleman bow,

c) Each gentleman steps back a few steps from the lady
to whom he bowed, advances again, and swings her
twice around in regular dance position, and puts her
down on his right as he faces the opposite gentleman,

d) Each gentleman now faces his partner, steps back a
few steps, advances again and swings her, and puts
her down on his right.

e) See page 160 for directions or substitute other calls
for docey-doe.

f ) First couple, with lady on the right, advances to third
couple and repeats from (b). They next repeat with
the fourth couple and then return to places in square.

3. See page 154 for directions or substitute any other ending
described there.

176

I'LL SWING YOUR GIRL; YOU SWING MINE

I'll Swing Your Girl; You Swing Mine

THE CALL:

1. Honors right and honors left.

All join hands and circle to the left.
Break and swing and promenade back.

2. a) First couple out to the couple on the right.

b) I'll swing your girl; you swing mine.
By golly! Ain't that fine!

c) You swing your girl; I'll swing mine,
I'll swing my girl every time.

d) Four hands up and here we go
'Round and around and a docey-doe.

Til swing your girl, you swing mine.

I'LL SWING YOUR GIRL; YOU SWING MINE 177

e) And on to the next.

Repeat 2 as written, beginning with (b).
Repeat again changing last line to :
Balance home.

3. And siting 'em all night.
Allemande left,
Go left and right.
Some'll go right

And some'll go le-e-eft! (With a long drawl.)
Meet your partner and promenade.

Repeat 2 and 3 for second, third, and fourth couples.

THE EXPLANATION:

1. See page 148 for directions, or substitute any other intro
duction described there.

2. a) First couple advances to second couple.

b) First gentleman, taking regular dance position,
swings second lady, and the second gentleman swings
first lady, putting them down to the right.

c) Each gentleman swings his own partner and puts her
down on his right.

d) See page 160 for directions and for variations of the
docey-doe call.

e) First couple with lady on the right advances to third
couple and repeats from (b). Then they advance to
fourth couple, and repeat from (b). Then they re
turn to their places in the square and all four couples
balance.

3. See page 154 for directions, or substitute any other end
ing found there.

Note : Some of the variations of this call, especially the
last couplet, are :

Your gal's pretty, so is mine,

Til swing my gal every time.
Or

An even swap, an even trade,

Your pretty gal for my old maid.

(or vice versa)
Or simply

Opposites swing,

Partners swing

178

SWING AT THE WALL

Swing at the Wall

THE CALL:

1. Honors right and honors left,

All join hands and circle to the left.
Break and swing and promenade
back.

2. a) First couple out to the couple on

the right,

b) Around that couple
And siving at the wall.

c) Through that couple
And siving in the halL

d) Circle four, oh, circle four.
Docey-doe with the gent you know.
The lady goes si and the gent goes do.

e) And on to the next,

Repeat 2 as written, beginning with (b).
Repeat again and change last line to :
Balance home.

3. And everybody siving.
A left allemande

And a right hand grand.

Promenade eight when you come straight.

Repeat 2 and 3 for second, third, and fourth couples.

Through that couple and swing in the hall

SWING AT THE WALL 179

THE EXPLANATION:

1. See page 148 for directions or substitute any other intro
duction given there.

2. a) First couple advances to second couple.

b) The first couple separates and passes around the sec
ond couple, lady to the right and gentleman to the
left. They meet beyond the second couple and, taking
a regular dance position, swing twice around.

c) The second couple separates by taking a step back
ward from each other, and the first couple passes
between them. It is best for the second couple to take
a step or two in the opposite direction (toward the
outside of the square) so they pass around the first
couple while the first passes between them. Each
gentleman takes his own partner in dance position
and both couples swing.

d) See page 160 for directions or for possible variations
of the call.

e), First couple passes on to the third couple and repeats
from (b). Then they go on and repeat with the fourth
couple and finally return to their places, when each
couple does a balance.

3. See page 153 for directions, or substitute any other end
ing given there.

Repeat 2 and 3 entire for second, third, and fourth
couples.

t II I

180 GO ROUND AND THROUGH

Go Round and Through

(Very similar to the preceding dance.)

THE CALL:

1. Everybody swing his prettiest gal, /"""~~7^
And promenade, boys, promenade! / ,'-r*^

I j x-K \

2. a) First couple out to the right. / ^ (

b) Go round and through \ ^
And the center couple siting. \ \

c) Go through and around \^
And both couples swing.

d) Four hands up, around we go,
Around and around and a docey-doe.

e) Then on to the next.

Repeat 2 as written, beginning with
Repeat again changing last line to :
Balance home.

3. Balance one and balance all!
Swing your opposite across the hall.
Now your oum if she's not too small.
And promenade, boys, promenade.

Repeat 2 and 3 for second, third, and fourth couples.

(b).

Go through and around and both couples swing.

GO ROUND AND THROUGH 181

THE EXPLANATION:

1. See page 151 for directions or substitute any other intro
duction found there.

2. a) First couple advances to second couple.

b) First couple separates and passes around outside of
second couple, meet each other, and pass back between
second couple (second couple taking what steps are
necessary to make this easier). First couple swings
twice around in regular dance position.

c) First couple now passes between second couple, sepa
rates, and returns to place by passing around and out
side second couple (second couple by a few steps in
either direction making this as easy as possible).
Each gentleman takes partner in dance position and
swings her twice around.

d) See page 160 for directions or variations,

e) First couple passes on to third couple and repeats
from (b), next time to fourth couple, and then back
to own position.

3. See page 156 for descriptions or substitute any ending
given there,

O O.

Very similar to the previous dance, this call is heard
much less frequently.

182

THE GALL:

HIM AND HER

Him and Her

1. Everybody swing his prettiest gal,
And promenade,

2. a) First couple out to the right.

b) The lady round the lady
And the gent around the gent.

c) The gent around the lady
And the lady round the gent.

d) Circle four and docey-doe.

e) On to the next.

b) The her around the her
And the him around the him.

c) The him around the her
And the her around the him,

d) Circle four and docey-doe.

e) And on to the next.

b) The she around the she
And the he around the he.

c) The he around the she
And the she around the he.

The gent around the lady, and the lady round the gent.

HIM AND HER 183

d) Circle four and a docey-doe.
g) And balance home,

3. And everybody swing.
Now allemande ho!
Right hand up and here we go!
Meet your partner and promenade.

Repeat 2 and 3 for second, third, and fourth couples.

THE EXPLANATION:

1. See page 151 for directions or substitute any other intro
duction given there.

2. a) First couple advances to second couple.

b) The first lady a little in advance of the first gentleman
passes between the opposite couple and encircles the
lady. The gentleman follows her between the opposite
couple, but he encircles the gentleman.

c) The first lady still in advance passes between the
second couple again and encircles the gentleman. The
first gentleman follows her through the opposite
couple but encircles the second lady. (They each do
a figure eight in the opposite direction from the
other.)

d) See page 160 for directions and a longer call for the
docey-doe.

e) The first couple advances to the third.
f ) The first couple advances to the fourth.

g) The first couple returns to own position in the square
and all couples balance.

3. See page 153 for directions or substitute any ending given
there.

There are many variations for this call, such as the fol
lowing :

The shoe around the shoe
And the boot around the boot.
The boot around the shoe
And the shoe around the boot.

184

THE GIRL I LEFT BEHIND ME

Or

The sheep around the sheep
And the goat around the goat.
The goat around the sheep
And the sheep around the goat.

The possibilities are endless.

In the dance as given the first couple goes through and
around the opposites. It is sometimes called in reverse order,
in which case they go around and through the opposites, and
on the last time through, the first lady crosses over in front
of the first gentleman in order to be in the right position for
the docey-doe. This is a little more awkward than the regu
lar arrangement in which the crossover comes at the be
ginning. The call in reverse would be :

The gent around the lady
And the lady 'round the gent.
The lady Around the lady
And the gent around the gent.

The Girl I Left Behind Me

N

A

/ 1

FlIUT 4IAL-F 5FCOWD 4jALf-

THE CALL:

1. Honors right and honors left,

All join hands and circle to the left.
Break and siving and promenade back.

THE GIRL I LEFT BEHIND ME 185

2. a) First couple out to the couple on the right;

b) Pass right through and balance too
And swing that girl behind you.

c) Pass right back on the same old track
And siving that girl behind you.

d) Noiv four hands up and here we go
Around and around and a doceij-doe.

e) And on to the next.

Repeat 2 as written, beginning with (b) .
Repeat again changing last line to :
Balance home.

3. And everybody swing.

Noiv promenade in single file

And just let me remind you

To turn right back in the same old track

And siving that girl behind you.

Repeat 3 three more times, or until each gentleman
swings his own partner again.

All promenade to places now.

Repeat 2 and 3 for second, third, and fourth couples.

Promenade in single file.

186 THE GIRL I LEFT BEHIND ME

Some callers so time this call that they manage to insert
the line:

Swing that girl, that pretty little girl,
Oh, swing that girl behind you.

THE EXPLANATION:

1. See page 148 for directions or substitute any introduction
given there.

2. a) First couple advances to second couple.

b) Who separate so that the first couple can pass between
them. Each dancer balances by taking a step back
ward and making a deep bow to his partner, and then
turns back to face the opposite. The first gentleman
swings the second lady and the second gentleman
swings the first lady.

c) The first gentleman and second lady now pass between
the second gentleman and the first lady. Each of these
pairs bow and turn and each gentleman then swings
his own partner.

d) See page 160 for directions or for variations of this
call.

e) First couple advances to third couple and repeats
from (b) ; next to fourth couple; and at last return
to places.

3. See page 159 for directions and for other calls of this
type which can be alternated in the repetitions if desired.

BIRDIE IN A CAGE

Birdie in a Cage

187

THE CALL:

1. Up and down and around and around,
Allemande left and allemande aye.
Ingo, bingo, six penny high,

Big pig, little pig, root hog or die.

2. a) First couple a balance-siring,

Lead right out to the right of the
ring

b) With a birdie in a cage
And three hands round.

c) The bird hop out and the crow hop in.

d) The crow hop out and circle again.

e) Docey-doe 'with the gent you know.
Ladies go si and the gents go do.

f ) On to the next

Repeat 2 as written beginning with (b)
Repeat again, changing last line to :

Balance home.

With a birdie in a cage and three hands round.

188 BIRDIE IN A CAGE

3. Swing, s icing, and swing 'em high.
Allemande left and allemande aye,
Ingo, bingo, six penny high,
Big pig, little pig, root hog or die.

Repeat 2 and 3 for second, third, and fourth couples.
This is sometimes called :

The bird hop out and the crow hop in,
All join paddies and go around again,
The croiv hop out and circle four.
Docey-doe, etc.

THE EXPLANATION:

1. See page 150 for directions or substitute any introduction
given there.

2. a) First lady and gentleman step backwards from each

other for four steps, then forward and take regular
dance position and swing twice around. They then
advance to second couple.

b) First lady steps to the middle of the ring formed by
the first gentleman and the second couple who join
hands. As the three circle to the left, she turns to the
right.

c) The first lady steps out of the ring and takes the first
gentleman's place as he steps in to the middle. The
new three circle left while he turns to the right.

d) The first gentleman steps out and takes his place in
the ring between the two ladies. All four continue
circling to the left.

e) See page 160 for directions.

f ) First couple go on and repeat the figure with the third
couple, then with the fourth couple, and return to
their original place in the square.

3. See page 150 for directions or substitute any other ending.
The one used is listed as an introduction, but serves just
as well as an ending.

THE LADY WALKS ROUND

The Lady Walks Round

189

THE CALL:

1. Honors right and honors left.

All join hands and circle to the left.
Break and swing and promenade
home.

2. a) First couple balance and siving.
Lead right out to the right of the
ring,

b) Turn a three hand set
And the lady ballonet.

c) Go four hands round
And round you go.

The ladies go si and the gents go do,

d) And on to the next.

Repeat 2 as written beginning with (b) .
Repeat again changing last line to :

Noiv balance home.

Turn a three hand set and the lady ballonet.

190 THE LADY WALKS ROUND

3. And everybody siting,

Allemande left with your left hand.
Right hand to partner and right and left grand.
Meet your partner and turn right hack,
Meet her again and promenade.

Repeat 2 and 3 for second, third, and fourth couples.
Ballonet is pronounced to rhyme with set.

THE EXPLANATION :

1. See page 148 for directions, or substitute any introduction
given there.

2. a) First couple each step back from one another four

steps, then together and swing. They then advance to
the second couple.

b) The first gentleman and the second couple take hands
and circle left, while the first lady walks around them
to the right. The second time her partner passes her
she steps into the ring on his right and they circle
four.

c) See page 160 for directions and a longer call if desired.

d) They advance to the third couple and repeat, then
to the fourth, and return home.

3. See page 153 for directions or substitute any other ending
given there.

VARIATION:

Where a Southern influence enters the following substi
tute is heard for b) :

Three hands round and the lady go seek,
Swing your partners when you meet.

THE DOLLAR WHIRL

The Dollar Whirl

191

-HALF

THE CALL:

1. Everybody swing his prettiest gal
And promenade.

2. a) First couple out to the couple on the right,

b) Change and swing with the quarter ivhirL

c) Change again and swing her the half.

d) Change again and swing her six bits.

e) Change again swing the dollar whirl.

f ) Four hands up and around we go,
'Round and around and a docey-doe.

g) On to the next

Repeat 2 beginning with (b) .
Repeat again changing last line to:
Balance home.

Change again and swing her six bits.

192 THE'DOLLAR WHIRL

3. And everybody swing.

Now allemande left with your left hand.
Right hand to partner and right and left grand.
Meet your partner and promenade.

Repeat 2 and 3 for second, third, and fourth couples.

THE EXPLANATION:

1. See page 151 for directions or substitute any other intro
duction given there.

2. a) First couple advances to second couple.

b) First and second gentlemen each take the opposite
lady and swing her half around, that is, each ex
changes places with her. (The swing can either be in
dance position or a two-handed swing.)

c) Each gentleman takes his own partner and swings
once full around with her, each returning to his own
position.

d) Each gentleman again takes the opposite lady and
swings with her once and a half around, again chang
ing positions with her.

e) Each gentleman takes his partner again and swings
twice around with her, and putting her down to his
right, they all join hands in a circle of four. The
gentleman always returns to his own place when
swinging his partners. He always changes places with
the opposite, since it is a one half swing and a once
and a half swing.)

f ) See page 160 for directions or for a longer call.

g) First couple advances and repeats with the third
couple, then with fourth, and returns to their home
position.

3. See page 152 for directions, or substitute any other ending
given there.

THE BUTTERFLY WHIRL

The Butterfly Whirl

193

m

2 < (a) * 2

0y \

a

V /

^^^

1 1 V_,/ \!^
,'* ~~*^

*- x x

r-^N

s.

,- >

/

(/ ' ^ O/

/ \ '(

-t- x

4l7\NP5 POWN -AT 5JDF5

-H-ANDS U

pj

THE CALL:

1. AH y&wp up and never come down.
Swing your honey around and around,

'Til the hollow of your foot makes a hole in the ground,
And promenade, oh, promenade!

2. a) First couple out to the right

And circle four.

b) The two ladies ivhirl;

c) The two gents ivhirl;

d) And don't forget the Butterfly ivhirl

e) Four hands up and around we go,
The ladies go si and the gents go do.

And don't forget the Butterfly whirl

194 THE BUTTERFLY WHIRL

f ) And on to the next.

Repeat 2 beginning with (b).
Repeat again changing last line to :
Balance home.

3, And swing 'em all night,

Allemande left, go left and right,
Hand over hand around the ring.
Hand over hand loith the dear little thing,
Promenade eight when you come straight,

Repeat 2 and 3 for second, third, and fourth couples.
This is sometimes called simply :

Four hands up in a great big ring,
Don't forget the Butterfly Swing.

THE EXPLANATION:

1. See page 149 for directions or substitute any other intro
duction given there.

2. a) First couple advances to second couple and joins hands

with them and all circle to the left.

b) All drop hands and the two ladies, with their hands at
their sides, whirl in position once around to the right.

c) The two gentlemen in the same manner whirl to the
right while the ladies continue whirling.

d) All four lift their hands above their heads, ostensibly
like butterfly wings, and whirl twice more around to
the right.

e) All join hands again and circle to the left. For direc
tions for the docey-doe see page 160.

f ) First couple repeats with the third couple, then the
fourth couple, and returns to place.

3. See page 154 for directions, or substitute any other ending
given there.

This dance is usually introduced for a laugh. There is
nothing to the dance, but it is silly enough to set everyone
laughing.

THE LADY ROUND TWO

The Lady Round Two

THE CALL:

1. Honors right and left, ^^:
All circle left /^C
Couples swing and promenade to ,' (j>

place. >

i *

i

2. a) First couple balance-swing

And lead right out to the right
of the ring.

b) The lady round two

c) And the gent fall through,

d) The gent around two,

e) And the lady fall through,

f ) Four hands up and here we go
Around and around and a docey-doe.

g) And on to the next.

Repeat 2 beginning with (b).
Repeat again changing last line to :

And now go home.

195

The lady round two and the gent fall through,

196 THE LADY ROUND TWO

3. And swing 'em all day.

Allemande left in the same old way.
Now right and left grand around the ring,
Hand over hand ^vith the dear little thing.
Meet your partner and promenade.

Repeat 2 and 3 entire for second, third, and fourth
couples.

S $

Another form of the call for this figure is :

First couple out to the couple on the right,
Around that couple with the lady in the lead,
The gent fall through and take the lead;
The lady fall through and circle four.
Docey-doe, etc.

THE EXPLANATION:

1. See page 148 for directions or substitute any introduction
found there.

2. a) First couple separates four steps, each from the

other, then they step together and swing. They then
advance to the second couple with the lady slightly
in the lead.

b) The lady walks to the right of the second couple and
circles around them to her left, and the first gentleman
follows her.

c) As the gentleman passes behind (or outside of) the
second couple, he passes between them, cutting cor
ners as it were, and is now in advance of his lady.

d) He continues circling to the left and walks once more
around the second couple.

e) But as the first lady passes behind them she now drops
between them, which puts her between the two gen
tlemen ready for the docey-doe.

f ) See page 160 for directions or for an alternate call.

g) The first couple advance to the third couple, then the
fourth couple, repeating 2 with each of them in turn,
and then return to their place in the square.

3. See page 154 for directions or substitute any other ending
given there.

DIVE FOR THE OYSTER

Dive for the Oyster

197

THE CALL:

1. All jump up and never come doivn,
Sioing your honey around and

around
'Til the hollow of your foot maket

a hole in the ground.
And promenade, boys, promenade.

2. a) First couple out to the couple

on the right,

b) And dive for the oyster. ^ , - , , ,

/ T-,. - /. , J ' One's go first and drag

C) Dive for the dam, two's after them. Arrows

d) Dive for the sardine^ indicate direction each
And take a full can. dancer f aces

e) Four hands up and here we go,
'Round and around and a

docey-doe.

f ) And on to the next

Repeat 2 beginning with (b) .
Repeat again changing last line to :

Balance home.

Dive for the oyster.

198 DIVE FOR THE OYSTER

3. And everybody swing.

Now allemande left with your left hand,

Right hand to partner and right and left grand,

Promenade eight ichen you come straight.

Repeat 2 and 3 entire for second, third, and fourth

couples.

I am told there is a slight variation of this call which is
heard on Cape Cod and goes :

Dig for the oyster,
Delve for the clam,
Take them all home,
In an old tin can.

This is logical enough in a clam-digging country. But
the call as I first heard it came from Arizona, where they
have to dig through the canned goods in the commissary
and take sardines perforce.

THE EXPLANATION:

1, See page 149 for directions or substitute any other intro
duction given there.

2. a) First couple advances to the second couple, joins

hands with them, and the four circle to the left.

b) The first couple dives in under the raised arms of the
second couple, and then steps back to place, all four
still holding hands.

d) The second couple dives in under the arms of the first
couple and back to place, all four still holding hands.

d) The first couple dives again under the arms of the
second couple, this time passing through to the other
side, all still holding hands. The first couple now raise
their leading and joined hands and pass under this
self-made arch in the old childhood figure, of "wring
ing the dishrag." In passing under their own joined
hands, each turns to the outside or away from his
partner (the gentleman pivoting left and the lady
pivoting right). They now pull the second couple
through after them under their still raised hands. The

DIVE FOR THE OYSTER 199

second couple finds their outside and still join hands
under which the first couple passes now above their
other arms which have been pulled through and
under. This pulls them face to face; then as the
pulling arms continues it brings them shoulder to
shoulder (the shoulders of the pulled arms, of course)
then back to back. By this time they have been
pulled through, and marvelous ! they too have "wrung
a dishrag" and are back in the original circle of four.

e) See page 160 for directions or substitute a longer call.

f ) First couple advances to third couple and repeats with
them. Then to fourth couple and finally back to place.

3. See page 152 for directions or substitute any other ending
given there.

VARIATION:

LITTLE BROWN JUG

This figure can be complicated by substituting the
following call; for b), c), d), and e) :

Roll that jug along the floor,
Keep on rolling and roll some more.
Now roll it back, till your back gets sore,
Keep on rolling, and couple up four.
Now docey-doe with the gent you know,
The lady goes see and the gent goes doe.

In this case there is no preliminary diving under the
arms and back, but the first couple go directly under the
arched arms of the second couple and with a dishrag con
tinue straight on until they have pulled the second couple
through under their arms. The second couple now go back
under the first couple's arms and with a dishrag continue
until they have pulled the first back through to their original
position. Then the four join hands, circle left, and do a
docey-doe.

200

EIGHT HANDS OVER

Eight Hands Over

THE CALL:

1. Honors right and honors left,

All join hands and circle to the left,
Break and swing and promenade back.

2. a) First couple out to the right

b) And eight hands over.

c) Ladies bow and the gents boiv under,

d) Round you go and go like thunder,

e) Break and circle four in a ring,
Docey-doe and a docey-ding.

f) On to the next

Repeat 2 beginning with (b).
Repeat again changing last line to :
Balance home.

Flap those girls and flap like thunder.

EIGHT HANDS OVER 201

And everybody swing.

Allemande left ivith your left hand,

Right to your partner and right and left grand,

Promenade eight ivhen you come straight!

Repeat 2 and 3 entire for second, third, and fourth

couples.

The last line of the figure is often called differently :
Hug those girls and go like thunder!

Or

Hold your holds and go like thunder!

Or

Squeeze 'em tight and go like thunder!

It is best, perhaps, to keep changing the last line, as you
call, for the sake of variety.

THE EXPLANATION:

1. See page 14'8 for directions or substitute any introduction
given there.

2. a) First couple advances to second couple.

b) The two ladies join both hands across rights to lefts,
and the two gentlemen likewise join their hands to
gether over the ladies' hands.

c) The two ladies bow low and pass in under the gentle
men's joined arms which are raised and swung back
so as to rest around the ladies' shoulders. The gentle
men then bow and pass their heads under the ladies'
joined hands, which now rest behind the gentlemen's
necks.

d) The ladies break their holds and crook their elbows
tightly around the gentlemen's necks. (This is very
important, or there may be an accident.) The gentle
men also let go of each other, and with their arms
crossed over the ladies' shoulders, each takes a hold
as securely as possible under the ladies' armpits. They
all four throw their heads back as far as possible and
circle to the left, the gentlemen lifting the ladies. The

202 EIGHT HANDS OVER

centrifugal force is so great that if the gentlemen spin
fast with short steps and their feet close together, or
even sometimes interlaced through each other, the
ladies' feet will come off the floor and they will spin
around flattened out at a level with the men's should
ers. The men often dip slightly as they spin them,
raising and lifting so that the ladies' bodies swing up
and down like the wings of a butterfly, their feet
often almost touching above the gentlemen's heads.
This last should not be attempted until the hold
is completely mastered and they know what they are
doing. I have seen an improperly held lady hurled
clear across the room and against the wall. I have seen
arms broken from falls in this dance. And the whirling
feet of the ladies may do much damage if they hit
anyone, or be severely hurt themselves if they hit
any hard object

e) The four dancers break holds, and separating, join
hands in a regular circle of four. See page 160 for
directions for the docey-doe.

f ) First couple advances to third couple and repeats, then
to fourth couple, and returns to place in square.

3. See page 152 for directions or substitute any other ending
given there.

O B O

Most dancers prefer avoiding the dangers and being less
strenuous. They execute this figure in the old form of the
California Show Basket. Both the ladies' and gentlemen's
joined arms are lowered in part (d) to the others' waists.
All four lean back as far as possible, held at the waist, and
form a basketlike group, flaring wide at the top. In this
position they turn very slowly to the left. This can be very
graceful and beautiful, although the footwork feels awkward
to the dancers.

In order to make the footwork neat and co-ordinated a
buzz step should be used. When circling to the left each
dancer crosses his right foot over in front of his left and
keeps it there through all the circling. The full weight is put
on the right foot which steps flat on the floor, but the left
foot (which is crossed behind) , takes the weight only with
a light step on the toe. With the four dancers stepping in

EIGHT HANDS OVER 203

unison with their right feet and touching their left toes in

unison, a lovely smooth waving motion is given to the circle.

If the caller wishes to indicate this form-, he can call :

Eight hands over,

Ladies boiv and gents boiv under.

California Shoiv Basket. What a ivonder!

Then if he wishes an intermediate form that is full of
good comedy, he can call :

Eight hands over,

Ladies bow and gents bow under.

Set 'em up! And spin like thunder!

The men in this case sweep their arms down below the
ladies' knees and literally lift them up, so that the ladies are
sitting on these intertwined arms at the height of the men's
shoulders. If they lean back and out they can form an
awkward-looking Etruscan-vase effect, but I laugh more
when they lean over and pound the men on the head and
squeal, "Let me down ! Let me down !"

Now if the caller wants the real MacKoy with lots of
action he calls :

Flap them, boys, and flap like thunder!

r

J

V.

Right
and
Left

Group

Making use of the old figure, right and left
through and right and left back in com
bination with any other change. For
a discussion of right and left
through see page 127,

206

PROMENADE THE OUTSIDE RING AND DOCEY-DOE

Promenade the Outside Ring and Docey-Doe

V

\

THE CALL:

1. One foot up and the other foot down,
Grab your honey in your arms,
And turn her around,

And allemande left as you come down,
Now promenade your honey 'round.

2. a) First couple balance,

First couple siving.

b) First couple promenade the outside ring.

c) Right and left with the couple you meet,
And right and left back*

d) The two ladies change,
And change right back.

e) Four hands up and here %ve go
Around and around ivith a docey-doe.

f ) And a right and left through to the next.

Repeat 2 beginning with (c) .
Repeat again changing last line to :
A right and left home.

PROMENADE THE OUTSIDE EING AND DOCEY-DOE 207

3. And everybody siving,

Allemande ho!

Right hands up and here -we go,

Promenade!

Repeat 2 and 3 for second, third, and fourth couples.

THE EXPLANATION:

1. See page 149 for directions or variations,

2. a) First couple divide, and each takes four steps back

from the other, then advancing together, take the
dance position and swing.

b) Then in promenade position (side by side, lady on the
right, holding hands with arms crossed in front) they
march around the outside of the square and passing
their own place advance to the second couple.

c) The first and second couples pass through each other,
the ladies passing between the opposite couple (see
page 127 for full directions.) Each couple turns left
about and passes back through the other.

Right and left with the couple you meet.

208

PROMENADE THE INSIDE RING

d) The two ladies advance to each other touching right
hands and pass on to the opposite gentleman to whom
they give their left hands, turn around the gentleman
(to the left) while the gentlemen pivot with the
ladies, who return to their places touching right hands
as they pass each other.

e) See page 160 for directions and variations of the docey-
doe.

f ) The couples pass through each other as before, the
second couple turning to place, while the first couple
advances to the third couple, and repeats 2 from (c),
then they advance to the fourth couple, and finish by
passing through them to their home position.

3. See page 153 for directions or variations.

Promenade the Inside Ring

PROMENADE THE INSIDE RING

THE CALL:

1. Salute your company and the lady on the left,
All join paddies and circle to the left.
Break and swing and promenade back.

2. a) First couple balance, first couple stving,

b) First couple promenade the inside ring.
While the roosters croiv and the birdies sing f
And the geese overhead are on the wing.

c) Right and left with the couple you meet

d) And the sides the same.
Now a right and left back.

e) Now the tivo ladies change.
And change right back.

Form two rings and make 'em go.
Four ladies break with a docey-doe.

f ) Now a half promenade.

g) And a right and left home.

3. Now balance home and everybody swing.

Now siuing on the corner like swingin f on the gate,
And now your own if you're not too late.
Allemande left with your left hand

209

Two ladies change.

210 PROMENADE THE INSIDE RING

Right hand to partner and right and left grand.
Meet your honey and promenade.

Repeat 2 and 3 entire for second, third, and fourth

couples. a 3

Often called Promenade the outside ring, and instead of
sides the same sometimes called two off couples the same.

THE EXPLANATION:

1. See page 148 for directions or substitutions.

2. a) First lady and gentleman step back from each other

four steps, then advance to each other and swing
twice around.

b) They take the promenade position and march around
inside of the square, passing their own position, and
advance to the second couple.

c) First and second couple pass through each other. (See
preceding page.)

d) At the same time, couples three and four pass through
each other in the same manner. All couples pass back
to place.

e) The first and second ladies change places as in the
preceding dance and the third and fourth ladies
change over and back at the same time.

f ) All couples take promenade position and first and sec
ond couples pass each other to the opposite's place
(men passing left shoulders), make a left-about turn
and again face each other. At the same time the third
and fourth couples do the same with each other.

g) Each couple passes through the opposite couple and
back to place in the square.

h) Each group now joins hands in a circle of four and
does a docey-doe. (See page 160 for directions.)

3. See page 155 for directions for this ending.

VARIATION:

This dance can be speeded up with more dancers in
action if the first and third couples are called out at the same
time. They promenade at the same time on opposite sides of
the inside ring. In this case the call and the sides the same
is of course omitted. For the repetition of the dance the
second and fourth couples are called out at the same time.

RIGHT AND LEFT

Right and Left

211

THE CALL:

1. Everybody swing his prettiest gal
Left allemande and right hand grand,
And promenade, oh, promenade.

2. a) First and third couples lead to the right,

b) With a right and left through,
And a right and left back.

c) Two ladies change
And change right back.

d) Ladies star by the right in the center of the set,

e) Tioo gents turn in a little side bet.

f ) Noio grab your oiun you're not through yet

g) And circle four with the couple you met.
Docey-doe ivith the gent you know

The ladies go si and the gents go do.
Balance home and everybody swing.

Ladies circle four in the center of the set,
Gents turn left in a little side bet.

212 RIGHT AND LEFT

3. Left allemande and a right hand grand.
Plant your taters in a sandy land,

And promenade back to the same old stand.

Repeat 2 and 3 with "second and fourth couples out
to right."

THE EXPLANATION:

1. See page 150 for directions.

2. a) First couple advances to second couple while the third

couple advances to the fourth couple. And throughout
the dance the third and fourth couples execute the
same movements as described for the first and second
at the same time.

b) First and second couples pass through each other and
back. (See page 127 for directions.)

c) First and second ladies change places with each other
and back. (See page 127 for directions.)

d) All four ladies join right hands and circle once
around to the left in the center of the set.

e) First and second gentlemen join left hands and circle
twice around. (Third and fourth gentlemen, of course,
do the same thing.)

f ) Timing the three circles (the four-hand mill of ladies
with a two-hand mill of men on either side) so each
dancer is back to original position at the same mo
ment, each gentleman takes his partner's left hand in
his right so they face the opposite couple. Each group
of four joins hands in a ring and circles to the left.

g) First and second couples do the docey-doe (see page
160) , and the third and fourth couples the same. Each
couple returns to own place in the square.

3. See page 153 for directions.

SWING YOUR OPPOSITE ALL ALONE

Swing Your Opposite All Alone

THE CALL:

1. Everybody swing Ms prettiest gal,
Left allemande and a right hand

grand,
And promenade, oh, promenade.

2. a) First couple out to the right,

b) Siving your opposite all alone, \ v ,

c) Now the one you call your own. ~~~"~

d) Now your opposite; don't be afraid.

e) Now your own and half promenade,

f ) And right and left through to the next.

Repeat 2 beginning with (b) .
Repeat again changing last line to :

And right and left home.

213

Half promenade.

214 SWING YOUR OPPOSITE ALL ALONE

3. All eight balance and all eight swing,
A left allemande,
And a right hand grand,
Meet your partner and promenade.

Repeat 2 and 3 for second, third, and fourth couples.

THE EXPLANATION:

1. See page 150 for directions or substitutions.

2. a) First couple advances to second couple.

b) First gentleman swings the second lady and second
gentleman swings the first lady once around. The two
gentlemen face each other and put the ladies down on
the right.

c) Each gentleman swings his partner once around, put
ting her down to the right.

d) Each gentleman again swings the opposite lady.

e) Each gentleman again swings his partner, putting her
on his right. He takes the promenade position and
walks with her past the opposite couple (gentlemen
passing left shoulders), and makes a left turn, again
facing the opposite couple.

f) Each couple passes through the opposite couple (see
page 127) and the first couple passes on to the third
couple while the second couple turns to their own
place. After repeating with the third couple, the first
couple advances to the fourth couple, repeats with
them and then back to their own positions.

3. See page 154 for directions.

CHANGE AND SWING HALF 215

Change and Swing Half

THE CALL:

1. Salute partners, salute corners,
Join hands and circle round,
Swing } em hard and trot 'em home.

2. a) First couple out to the right,

b) Change and swing half,

c) Change and swing half,

d) Change and swing half,
And don't be afraid,

e) Change and swing half
And a half promenade.

f ) Right and left through
And on to the next.

Repeat 2 beginning with (b).
Repeat again changing (f) to:
Now right and left home.

3. Sluing, swing, everybody swing!
Allemande ho!

Right hand up and around ice go,

Meet your partner and promenade home.

Repeat 2 and 3 for second, third, and fourth couples.

Change and swing half.

216 CHANGE AND SWING HALF

THE EXPLANATION:

1. See page 149 for directions or substitutions.

2. a) First couple advances to second couple.

b) First gentleman takes second lady by both hands and
turns her half around to the right, so that he stands
in her position and she in his. The second gentleman
turns the first lady in the same manner.

c) Each gentleman turns to his partner and taking her
by both hands turns her in the same manner, so that
he changes positions with her.

d) Now each gentleman takes the opposite lady and turns
her again.

e) Each gentleman turns his partner again, and it brings
everyone back to the position from which they started.
Each gentleman takes his partner at his right side,
holding with hands crossed in front, and promenades
past the opposite couple, gentlemen passing left
shoulders, and each gentleman pivots and turns him
self and his partner left about so they face the
opposites.

f ) Couples advance to each other, and each gentleman
takes the opposite lady by the right hand, and the
couples pass through each other (ladies going between
the opposite couple). As soon as they pass through,
each gentleman takes the left hand of his partner
with his left and puts his right hand behind her waist.
In this position the second couple turn to their original
place and the first couple advance to the third and
repeat the figure. Then they advance to the fourth
couple and on the last repetition they return to their
places in the square.

3. See page 153 for directions, or substitute any other ending
given there.

RIGHT AND LEFT FOUR AND SIX

Right and Left Four and Six

217

THE CALL:

1. Honors right and honors left,

All join hands and circle to the left.
Break and swing and promenade back.

2. a) First couple out to the couple on the right,

b) With a four and a half.

c) Right and left four,
And a right and left six.
Right and left on,

And a right and left "back.

Right and left six.

218 RIGHT AND LEFT FOUR AND SIX

d) On to the next and circle four.
Docey-doe with the gent you know.
The lady goes si, the gent goes doe.

e) On to the next with a four and a half.
Right and left four,

And a right and left six.

Right and left on,

And a right and left back.

f ) Balance home and everybody swing.

3. A left allemande and a right hand grand.
Hand over hand around the ring.
Hand over the hand with the dear little thing.
Meet your partner and promenade.

Repeat 2 and 3 for the second, third, and fourth
couples.

THE EXPLANATION:

1. See page 148 for directions or substitutions.

2. a) First couple advances to second couple and joining

hands they circle half around so that the first couple
is on the outside and the second couple toward the
center.

b) First couple then do a right and left through (see page
127) and, while the second couple turns around, the
first couple continues on with a right and left through
with the fourth. As the first couple turns around in
place, the fourth continues on with a right and left
through with the second couple. The fourth couple
turns and stands in the second couple's place while the
second couple continues on with a right and left
through with the first. This leaves the first couple
in the center, the second couple standing in the fourth
couple's place and the fourth couple standing in the
second couple's place.

c) First couple advances to third couple, and joining
hands they circle full around to the left, finishing with
a docey-doe (see page 160)*

RIGHT AND LEFT FOUR AND SIX 219

d) First couple advances to fourth couple's place, where
the second couple are still standing. They repeat (b)
which puts the fourth and second couples each back
in their own places.

f ) First couple, who is again in center, balances home
and all swing.

3. See page 153 for directions or substitutions.

220 EIGHT AND LEFT FOUR AND CENTER COUPLE SWING

Right and Left Four
And the Center Couple Swing

THE CALL:

1. Everybody siving his prettiest gal
And promenade, boys, promenade.

2. a) First couple out to the couple on the rig\t

b) And a four and a half.

c) Right and left four

And the center couple swing.

d) Right and left six

And the center couple swing.

e) Right and left on

And the center couple siving.

f) Right and left back

And the center couple swing.

g) Now circle four with the odd couple oh,
Around and around and a docey-doe.

h) Now on to the next.

Repeat 2 from (b) changing (g) and (h) to:
Balance home.

3. And swing 'em all day.
Allemande left in the same old way.
Hand over hand and a right and left grand.
Meet your partner and promenade.

Repeat 2 and 3 for second, third, and fourth couples.

RIGHT AND LEFT POUR AND CENTER COUPLE SWING 221

This is sometimes called as follows :

Right and left through and center two siving,
Right and left through and center two swing,
Right and left through and center two siting,
Right and left through and center two swing,
Now lead to the foot
With a circle four and a docey-doe.

THE EXPLANATION:

1. See page 151 for directions or substitutions.

2. a) First couple advances to second couple.

b) They all join hands and circle half around so as to
change places.

c) They pass through each other with a right and left
(see page 127) leaving the first couple in the center of
the set. First couple takes regular dance position and
swings, while the second couple turns facing set.

Right and left four and the center couple swing.

222 RIGHT AND LEFT BACK AND BOTH COUPLES SWING

d) First couple then passes through fourth couple with
a right and left. The fourth couple, now in the center,
swings, while the first couple turns around.

e) The fourth couple goes on and does a right and left
with the second. The second is now in the center and
swings.

f ) The second couple now does a right and left with first
couple. This puts the first couple back in the center
where they swing again. And it leaves the second
couple standing in the fourth couple's place and the
fourth couple standing in the second couple's place.

g) The first couple now advances to the third couple,
who have stood idle so far, and joining hands with
them circles and does a docey-doe (see page 160).

h) They now advance to the fourth position where the
second couple is standing and by repeating from (b)
through (f) they get the second and fourth couples
back in their own positions, and they balance home
from the center of the set.

3. See page 154 for directions or substitute any other ending
given there.

Right and Left Back
and Both Couples Swing

o

RIGHT AND LEFT BACK AND BOTH COUPLES SWING 223

THE CALL:

1. All jump up and never come down.
Siring your honey around and around
'Til the hollow of your foot

Makes a hole in the ground,
And promenade, boys, promenade.

2. a) First couple out to the couple on the right,

b) Right and left through

And the center couple swing,

c) Right and left back
And both couples swing.

d) Now four hands up and here we go,
Round and around and a docey-doe.

f ) On to the next.

Repeat 2 beginning with (b)
Repeat again changing last line to :
Balance home.

3. And everybody swing.

Swing your opposite across the hall
Now the lady on your right.
Noiv your opposite across the hall.
No iv your oim and promenade all.

Repeat 2 and 3 for second, third, and fourth couples.

Right and left back and both couples swing.

224 RIGHT AND LEFT THROUGH

THE EXPLANATION:

1. See page 149 for directions or substitute any introduction
given there.

2. a) First couple advances to second couple.

b) Two couples pass through each other with a right and
left (see page 127) . As the first couple turns around to
face the set the second couple (who is in the center)
takes dance position and swings.

c) They pass back through each other with a right a.nd
left and both couples now take dance position and
swing.

d) The four join hands and circle and then do a docey-
doe (see page 160).

f ) The first couple now advances to the third couple.

3. See page 155 for directions or substitute any other ending
given there.

Right and Left Through and Swing That
Girl Behind You

x"

vC") x i

THE CALL:

1. Honors right and honors left.

All join hands and. circle to the left,
Break and swing and promenade back.

2. a) First couple balance-swing,

Lead right out to the right of the ring.
b) Right and left through

And swing that girl behind you.

RIGHT AND LEFT THROUGH 225

c) On to the next

With a right and left through
And swing that girl behind you.

Repeat (c).

3. No-iv single promenade
With the lady in the lead.
Now turn right back
You're all agreed,

And swing that girl, that pretty little girl,
Swing that girl behind you.
Promenade to places now.

Repeat two more times, until straight.

Repeat 2 and 3 for second, third, and fourth couples.

Some callers prefer the variation :

Circle four hands half,

Now right and left through

And sioing that girl behind you.

Noiv right and left through to the next.

Then repeat with another :
Circle four hands half.

And swing that girl behind you.

226 RIGHT AND LEFT THROUGH

THE EXPLANATION:

1. See page 148 for directions or substitutions.

2. a) First couple step back from each other four steps,

then forward and take dance position and swing.
They then advance to second couple.

b) They pass through the second couple with a right and
left (see page 127) and then each man turns back
(partners turning back to back) and swings the oppo
site lady.

c) The first gentleman and the second lady go on to the
third couple and pass through them with a right and
left, and each man turning back swings the opposite
lady,

The first gentleman with the third lady now goes
on and repeats with the fourth couple.

3. Each gentleman now places his lady in front of him, and
they promenade in single file. Then each gentleman turns
back and swings the girl behind him. He now places her
in front of him, and they promenade again and so con
tinue until each has his own partner. They then take
regular promenade position and continue around to their
own places.

Single
Visitor
Group

In which either the gentleman or the lady of one
couple visits aro'und the set alone.

228

ADAM AND EVE

Adam and Eve

THE CALL:

1. One foot up and the other foot

doivn.

Grab your honey in your arms
And turn her around.
Noiv allemande left as you come

down.
And promenade your partner

round.

2.a ) First lady out to the couple on the right.

b) Swing Mr. Adam,

c) And swing Miss Eve,

d) Now siving old Adam before you leave;

e) And don't forget your own.

f ) On to the next.

Repeat 2 beginning with (b).
Repeat again omitting the last line.

3. Now everybody swing.
And swing 'em all day.
Noiv allemande left in the same old way.

And swing Miss Eve.

ADAM AND EVE 229

Now hand over hand with a right and left grand.
Oh, some'll go right and some'll go left.
Now Promenade!

Repeat 2 and 3 complete for the second, third, and
fourth couples.

THE EXPLANATION:

1. See page 149 for explanations or substitute any other
introduction given there.

2. a) First lady advances to the second couple while the

first gentleman remains in his place.

b) She joins right hands with the second gentleman and
swings him once around.

c) She now joins left hands with the second lady and
swings her once around.

d) She swings the second gentleman again with a right
hand swing.

e) She skips back to her partner and joining left hands
with him swings him once around.

f ) She now skips on to the third couple and swings them
in the same way always swinging the other men
with her right hand and her partner and the ladies
with her left hand.

3. See page 154 for explanation or substitute any other
ending given there.

Some dancers prefer using regular swing position, in
stead of single hands. When the two ladies swing together
it is best for them to stand with right hips together, and
each lady grasp the other's arms just below the shoulders.
However, the swing position is more often used for the next
call and the one hand swing for this one.

NOTE : This and the following dance are found in an in
finite variety of forms and variations in different parts of
the country.

230

OLD AKKANSAW

Old Arkansaw

THE CALL:

1. Salute your company
And the lady on your left.

All join paddies ^~~

And circle to the left.
Break and swing and promenade
back.

2. a) First lady out to the couple on

the right,

b) Swing your paw,

c) Swing your maw }

d) And don't forget old Arkansaio.

e) On to the next

Repeat 2 from (b).

Repeat again, omitting last line.

3. Balance home and siving 'em all night,
Allemande left go left and right.
Meet your partner and promenade.

Swing your paw. (When a gentleman is called out.)

OLD ARKANSAW 231

Repeat 2 and 3 entire for second, third, and fourth
ladies.

This call is sometimes heard :
Swing that Indian,
Swing that squaw,
And now that boy from Arkansaw.

Or when it is wished to send the gentlemen around in
stead of single ladies, it is:

First gent out to the couple on the right,

Swing your maw,

Siuing your paiv,

And don't forget your mother-in-law,

Or

Don't forget to swing grandmaiv.

THE EXPLANATION: This is a dance used for the sake
of its comedy.

1. See page 148 for explanation or substitute any other
introduction given there.

2. a) First lady advances to the second couple.

b) She takes regular swing position with the second
man and they swing once around.

c) She takes regular swing position with the second lady
(which is a bit confusing and provocative of laughter
since neither lady knows which will take the man's
position) and they swing once around.

d) She returns to her partner and swings with him.

e) She goes on to the third couple and does the same with
them, then on to the fourth couple.

3. See page 154 for explanation or substitute any other end
ing given there.

Note : When lady swings with lady or man swings with
man, this awkwardness can be avoided if each grasps the
arms of the other just below the shoulders, thus making
their holds identical.

232

CHEAT AND SWING

Cheat and Swing

6

THE CALL:

1. Everybody swing Ms prettiest gal,
A left allemande and a right hand

grand,
And promenade, oh, promenade.

2. a) First lady out to the couple on

the right,

b) Cheat or swing or do as you

like,

c) And don't forget your own.

d) On to the next

Repeat (b), (c), and (d).
Repeat (b) and (c).

3. Now you're home and everybody siving.
Siving your opposite across the hall,
Now siving your corners t

Noiv your partners,
And promenade all

Repeat 2 and 3 entire for second, third, and fourth
ladies.

Cheat or swing.

CHEAT AND SWING 233

THE EXPLANATION:

1. See page 150 for explanation or substitute any other in
troduction given there.

2. a) First lady leaves her partner and advances to second

couple.

b) She attempts to swing with the second man he either
swings with her, or rejects her and swings with his
partner. It gives rise to much laughter if the man is
a good tease and keeps them both guessing, and if the
girls are clever in cheating for the swing and do their
best to leave the other in the lurch.

c) She returns to her partner and swings with him
often in consolation for having been left at her last
attempt) . If the second man has swung with her he
usually now gives his partner a consolation swing
while the first couple are swinging.

d) She now advances and repeats (b) with the third
couple and so on around.

3. For explanation see page 156 or substitute any other end
ing given there. $ & &

This dance is used for the sake of comedy.

VARIATION:

This dance is sometimes called :

First couple out to the couple on the right,
Cheat and swing and do as you like,
Now circle four and docey-doe
And lead right on to the next.

This can become so complicated that the following rules
had better be established.

The active couple (that is, the couple called out) may
either swing each other or either of them may swing any
other dancer in the set.

The inactive dancers may only swing their own partners
or swing with an active dancer if so chosen.

After the mixup you must get back with your own lady
in your right hand for the circle four.

From the ending in 3, the caller may now and then sub
stitute cheat and siving for swing, when anyone may grab
anyone else anywhere on the floor for the swing, then scurry
back for the call go back home, and for a regular ending.

234 BOW AND KNEEL TO THAT LADY

Bow and Kneel to That Lady

THE CALL:

1. Honors right and honors left.

All join hands and circle to the

f f i - / ** \ j

left, ^ >, ^

Break and swing and promenade

back, *

2. a) First gent out to the lady on

the right,

b) Honor that lady,

c) Bow to that lady,

d) Kneel to that lady.

e) Now step right back and watch her smile,
Step right up and swing her aivhile.

f ) Step right back and watch her grin,
Step right up and swing her again.

g) And on to the next

Repeat 2 from (b) as written.
Repeat again changing last line to :
Balance home.

o

Kneel to that lady!

BOW AND KNEEL TO THAT LADY 235

And everybody swing.

Now allemande left with your left hand,

Right hand to partner and right and left grand.

Promenade eight when you come straight.

Repeat 2 and 3 entire for second, third, and fourth
gentlemen.

THE EXPLANATION:

1. See page 148 for explanation or substitute any introduc
tion given there.

2. a) First gentleman leaves his partner and advances to

the second lady.

b) He gives her a slight curtsy, a slight nod of the head,

c) He now gives her a very deep bow, with left hand on
heart and right hand sweeping the floor,

d) He now kneels before her with left hand on heart and
right hand extended to her.

e) He steps back from her four steps then advances to
her and swings her once around.

f ) He steps back again, advances again, and swings her

twice around.
g) He goes on to the third lady and repeats it all with

her and then to the fourth lady.

3. See page 152 for explanation or substitute any other end
ings given there,

This dance, which should be done with exaggerated
earnestness, is considered very tedious and uninteresting by
my group except in exhibition, when a good clown has a fine
opportunity.

236

THE CALL:

HONOR THAT LADY

Honor That Lady

1. Honors right and honors left.
All join paddies and circle left.
Break and swing and promenade

back.

2. a) First gent out to the lady on the right

b) Honor that lady,

c) Honor her again.

d) You honored her so nice,
Noiv honor her again.

e) Swing that lady,

f ) Swing her again.

g) You swung her so nice,
Now swing her again.

h) Balance to the next

Repeat 2 from (b) as written.
Repeat again changing last line to :

Balance home.

G

Honor that lady.

HONOR THAT LADY 237

And everybody swing,
Now allemande left icith your left hand.
Right hand to partner and right and left grand.
And promenade, oh, promenade!

Repeat 2 and 3 entire for second, third, and fourth
gentlemen.

THE EXPLANATION:

1. See page 148 for directions or substitute any other intro
duction given there.

2. a) The first gentleman leaves his partner and advances to

the second lady.

b) He bows to her politely.

c) He bows to her with any exaggerated piece of clown
ing he can think of.

d) He goes down, perhaps on both knees to her, with a
deep salaam to her or perpetrates any extreme non-

' sense that occurs to him.

e) He swings her once around.

f ) He swings her faster and twice around.
g) He swings her furiously several times around.
h) He advances to third lady and repeats all with her
and then on to the fourth.

3. See page 152 for explanation or substitute any other end
ing given there.

This silly dance is used to raise a laugh and lighten the
spirits if a program is bogging down. It must be done with
mock chivalry and a great deal of clowning. It is a favorite
with one of my caller friends, but he prefers to use it with
a new group who are not acquainted with it. In this case
the man does not try for accumulative comedy as in the
directions above, but is surprised and embarrassed at having
to bow again and then again, and then having to swing again
and again. The comedy arises from his discomfiture.

238 DOCEY OUT AS SHE COMES IN

Docey Out As She Comes In

THE CALL:

1. Up and down and around and around,
Allemande left and allemande aye,
Ingo, bingo, six penny high,

Big pig, little pig } root hog or die.

2. a) First couple, docey corners right and left,

Meet and swing in the center of the set.

b) Now docey out as she comes in,

Meet in the center and swing her again.

c) Now docey in as she goes out,

And meet her again and sioing her about;

d) Then docey out as she comes in,

And flop your wings and swing her ag'in.

e) Then docey in as she goes out,

And sioing her ag'in and give a little shout.

f ) And docey out as she goes in,

Yip and holler and everybody sioing.

DOCEY OUT AS SHE COMES IN 239

3. Allemande left as you come down,

Grand right and left and so on around,

Meet your partner and promenade.

Repeat 2 and 3 entire for the second, third, and
fourth couples.

The simpler and commoner call which is used for this
dance is :

First lady out,

And docey round the right hand gent,

And siving your partner.

Now docey out as she comes in.

Meet her in the center and swing her again.

And the last two lines are repeated four more times or
until they are around the set.

Allemande left and allemande aye,
Ingo bingo six penny high.

240 DOCEY OUT AS SHE COMES IN

THE EXPLANATION:

1. See page 150 for directions or substitute any introduction
given there.

2. a) The first couple separates, and the lady walks around

the second gentleman, while the first gentleman walks
around the fourth lady. This is not a dos-a-dos,
walking back to back, but, while the corners stand
still, the first lady and gentleman w r alk to each and,
passing to the right, encircle them. They then meet
in the center of the set and swing.

b) The lady now walks around the second lady (by pass
ing through the second couple and turning left) in the
same way w r hile the gentleman walks around the
second gentleman. They meet in the center and again
swing.

c) The lady now walks around the third gentleman (by
passing between him and the second lady and turning
left) while the man walks around the second lady.
They meet in the center and swing again.

Please note that to go out is to pass between two
couples, to go in is to pass between the partners of one
couple. The lady will go alternately in and out in
order to encircle each person in the set in regular
order. The gentleman follows her, passing always
around the person that she last circled. He, of course,
will therefore have to go out whenever she goes in and
vice-versa.

d) He now goes between the second and third couples
and encircles the third man, while she splits the third
couple and encircles the third lady. They meet and
swing again in the center.

e) He splits the third couple and encircles the third lady
while she goes between the third and fourth couples
and encircles the fourth man. They meet and swing
again in the center.

f ) He goes out between the third and fourth couples and
encircles the fourth man, while she splits in between
the fourth partners and encircles the fourth lady.
They meet at their home position, and all four couples
swing.

3. See page 153 for explanation or substitute any ending
given there.

SWING THE RIGHT HAND GENT

241

Swing the Right Hand Gent with the
Right Hand Round

THE CALL:

1. All eight balance, all eight swing.
A left allemande

And a -right hand grand.

Meet your partner and promenade.

2. a) First lady out to the right,

b) Swing the right hand gent
With the right hand round,

c) Partner with your left
As you come down.

d) Siving the opposite gent with the
Right hand round,

And left hand to partner as you come down.

242

SWING THE RIGHT HAND GENT

e) Swing the left hand gent with the
Right hand round,

And left hand to partner as you come down.

f ) Noui birdie in the center
And seven hands round.

g) The bird hops out and the croiv hops in,
All join paddies and go round ag'in.

h) The crow hops out loith a left attemande.

3. Right hands to partners
And right and left grand.
Promenade eight
When you come straight.

Repeat 2 and 3 entire for second, third, and fourth

ladies.

The end of this dance is sometimes called :

Lady in the center and seven hands round,
Lady swing out and the gent swing in.
The gent swing out and everybody swing.
A left attemande and a right hand grand.

Birdie in the center and seven hands round.

SWING THE RIGHT HAND GENT 243

THE EXPLANATION :

1. See page 151 for description or use any other introduction
given there.

2. a) The first lady leaves her partner and advances to the

second gentleman.

b) Taking right hands they swing once around.

c) She returns, usually with a light skipping step, to her
partner and swings him once around with left hands
joined.

d) She skips on to the third gentleman and swings him
with the right hand, and returns to her partner and
swings with the left.

e) She skips on to the fourth gentleman and swings him
by the right hand, and returns to her partner and
swings with the left.

f ) She now takes> a position in the center of the set. The
rest of the set, seven of them, join hands and circle
to the left, while she turns slowly in the opposite
direction.

g) She steps out and takes her partner's place in the
circle, while he steps in to the center. All the while the
circle continues to the left.

h) They all do an allemande left, the first gentleman
stepping out to the fourth lady, of course, and turn
ing her with a left allemande. (If the gentleman will
always remember to break the circle as he comes out,
at the only two ladies who are together, and do his
allemande with the one who is not his partner, he can
make no mistake.)

3. The allemande left completed, they continue as described
on page 152.

244

DON'T YOU TOUCH HER
Don't You Touch Her

THE CALL:

1. One foot up and the other foot down,
Take your honey in your arms,
And turn her around.
Promenade, boys,. promenade.

2. a) First gent out around the opposite lady,

And don't you touch her.

b) Now back around your own,
And don't you touch her.

c) All four gents around the right hand ladies,
And don't you touch 'em.

DON'T YOU TOUCH HER 245

d) Noic promenade those ladies fair,

But touch 'em? No sir, don't you dare!

Repeat 2 as written, for second, third, and fourth

gentlemen.

3. Now allemande left ivlth your left hand,
But don't you touch 'em.

Right hand to partners and right and left grand,
But don't you touch 'em.
Promenade, boys, and touch 'em if you like.

THE EXPLANATION:

1. See page 149 for explanation or substitute any Introduc
tion given there.

2. a) First gentleman leaves partner, and crosses to the

third lady. He either does a dos-a-dos around her, or
leans his shoulder toward her and with arms held
behind him in a comedy position, goes round her with
out touching her,

b) He now returns and encircles his own lady.

c) Each gentleman now goes to the right behind his lady
and encircles the next or right-hand lady with ex
aggerated comedy.

Right and left grand but don't you touch *em.

246 LADY GO HALFWAY ROUND AGAIN

d) They then promenade around with a lot of byplay of
not touching each other. They return to the gentle
men's positions, which means that each lady has fallen
back one place.

With three repetitions of (a) to (d) she is back in
her own place.

3. A regular allemande left and grand right and left (see
page 152) is now done, but with exaggerated and humor
ous care not to touch each other. The dancers often
almost touch finger tips, but are careful not to really
touch. At the final promenade they grab them firmly and
joyously, as a relief from all the care not to touch them.

A lot of comedy and fun can be had by this dance. In
fact, the line "Don't you touch her" can be added to many of
the different calls and thus adapt them to this pattern of
fun. My dancers much prefer the preceding call "Swing the
Right Hand Gent/' so adapted, to the regular call here given.

Lady Go Halfway Round Again

LADY GO HALFWAY ROUND AGAIN

24?

THE CALL:

1. Honors right and honors left,

All join hands and circle to the left.
Break and swing and promenade back.

2. a) First couple balance, first couple sicing,

First couple promenade the outside ring,

b) And the lady goes halfway round again.

c) Forward three and three fall back,

d) Forward three and three stand pat.

e) The gent dos-ee around those three,

f ) And swing the left hand lady
With the right hand round,

g) Then the right hand lady
With the left hand round,

h) Then the opposite lady

With both hands round,
j ) And now your own

With your arm around.
k) Balance home and everybody siving.

3. Nou) allemande left loith your left hand,
Right hand to partner

And right and left grand.
Meet your partner
And promenade.

Repeat 2 and 3 entire for second, third, and fourth

couples.

The gent docey around these three.

248 LADY GO HALFWAY ROUND AGAIN

THE EXPLANATION:

1. See page 148 for explanation or substitute any other in
troduction given there.

2. a) The first couple step back from each other with a

bow, then step together and swing. They then prome
nade around the outside of the other three couples in
the set.

b) When they get back to their home position the first
gentleman stands there alone, while his lady continues
halfway on around the set and stops at the left side
of the third gentleman.

c) The third couple and the first lady take hands in a row
with the gentleman in the middle and take four steps
forward and four steps back to place.

d) They then take four steps forward again and remain
standing in a line in the middle of the set.

e) The first gentleman now does a dos-a-dos around them,
going to the left of the third lady, then, with his back
to the three, sliding behind them to the right, he steps
backward by the side of his partner and almost back to
place.

f ) He now advances to the fourth lady and taking right
hands with her swings once around.

g) Crossing the set he joins left hands with the second
lady and swings her once around.

h) He now goes to the third lady and taking her with

both hands swings her around,
j) And now, taking regular swing or dance position with

his partner, he swings her.

k) Back to place while each of the other couples swing
also.

3. See page 152 for explanation or substitute any other end
ing given there.

PROMENADE YOUR CORNERS ROUND 249

Promenade Your Corners Round

THE CALL:

X- 3 5 -X

1. Salute your company and the lady - "-' 4/

on the left, pp ' v^>

;om paddies and circle to the ! ____ i vl

Break and swing and promenade

back. /"--^

2. a) First lady out to the right, *.< - ~- y "^

Siving your opposite with your "^T^ - ^ ^"
right, * ! ^

b) 2Vow 2/owr partner with your left.

c) AZZ siving your corners

And promenade your corners round.
Repeat (a), (b), and (c) three more times, substi
tuting same lady for first lady in (a).

3. Noiv allemande left with your left hand.
Right hand to partner and right and left grand.
Promenade eight when you come straight.

Repeat 2 and 3 for second, third, and fourth ladies.

Promenade your corners round.

250 TAKE HER RIGHT ALONG

THE EXPLANATION:

1. See page 148 for explanations or substitute any introduc
tion given there.

2. a) First lady leaves her partner and advances to second

gentleman. She joins right hands with him and they
swing once around.

b) She returns to her partner and joining left hands with
him swings once around (often, in this dance, all the
other couples join left hands at the same time and
swing around) .

c) Each gentleman now swings his corner or left hand
lady in the regular dance or swing position.

d) He promenades her around and back to his position.
This means that each lady advances one place.

On the repetition the first lady finds hgrself in
second position and going to the right, in (a) she
swings the third man with her right hand. She keeps
advancing thus with each repetition until she is back
in place.

3. See page 152 for explanation or substitute any ending
given there.

Take Her Right Along

:

THE CALL:

1. Everybody siving his prettiest gal,
And promenade, boys, promenade

2. a) First couple out to the right,
b) Change and swing

And take her right along.
Repeat (b) eleven more
times. I \ /

LJ ' W

3. Now you're home and everybody . ,

And on around for twelve
swing, swings .

Now allemande left with your left hand.
Right hand to partner and right and left grand.
Promenade eight when you come straight.

Repeat 2 and 3 for second, third, and fourth couples.

TAKE HER EIGHT ALONG

251

For variety in the repetitions of (b) it is sometimes
called :

Change and swing
With the carry-o swing.

or alternate between the two phrases.

THE EXPLANATION:

1. See page 151 for explanation or substitute any introduc
tion given there.

2. a) First couple advances to second couple.

b) The first gentleman swings the second lady while the
second gentleman swings the first lady. The first
gentleman with the second lady now advances to the
third couple w r hile the first lady remains with the
second gentleman.

On the next repetition the first gentleman swings
the third lady and takes her on with him to the fourth
couple.

On the next repetition he swings the fourth lady
and takes her across to the second couple.

By constantly exchanging and swinging ladies and
advancing them one position each time, on the twelfth
time he swings his own lady back to her home position.

Change and swing and take her right along.

252 YALLER GAL

Of course, the standard swing is always twice
around. But in this dance most men are contented to
swing each girl just once. However, expert swingers
swing each girl twice around, advancing to the next
couple as they swing, and hardly losing a second as
they change and swing the next girl with the intoxi
cation of a whirling dervish.

3. See page 152 for explanation or substitute any ending
given there.

This is the "swingingest" dance there is. Some men get
so dizzy that they cannot carry through to the end. There
fore it is sometimes wise to send the first man around once
(three swings), then the second, third, and fourth men,
each with three swings, which gets all the ladies safely home
at last.

Yaller Gal

THE CALL:

1. All jump up and never come down ryi A
Swing your honey around and LU ^

around, j s
'Til the hollow of your foot makes

a hole in the ground, ^ rji

And promenade, oh, promenade. ^ LU

\

2. a) First little yaller gal out around ' FT] ^ G^'

the ring
Meet your partner, meet him with a swing.

b) Two little yaller gals out around the ring,
Meet your partners, meet 'em with a swing.

c) Three little yaller gals out around the ring,
Meet your partners, meet 'em with a swing.

d) Four little yaller gals, out around the ring,
Meet your partners and everybody swing.

3. Allemande left as you come down,

Right hand to partners and so on around,
Promenade eight, when you come straight.

Repeat 2 and 3 beginning with second, third, and
fourth ladies.

YALLER GAL

253

If It is desired to send the men around the same way,
little yaller gal Is changed to old alligator In the call. Though
some callers always have the ladles go round but use alligator
or yaller gal indiscriminately for them, apparently only for
the sake of variety.

THE EXPLANATION:

1. See page 149 for explanation or substitute any introduc
tion given there.

2. a)

The first lady leaves her partner and goes around the
outside of the set, preferably with a skip step or a
running step. When she gets back to her partner they
swing.

The first and second ladies both skip around the out
side of the ring, the second, of course, ahead of the
first as they circle, and both meet their partners and
swing.

The first, second, and third ladles all skip around the
ring until they get back to their partners and swing,
d) All four ladies now skip around the outside of the ring
and all meet their partners and swing.

3. See page 152 for explanation or substitute any ending
given there.

b)

c)

Four little yaller gals out around the ring.

254 BUFFALOES AND INJUNS

Buffaloes and Injuns

(To be sung to the old tune of "Buffalo Gals Come Out Tonight")

THE CALL: '"""tD v

First little buffalo

Round the outside,
Round the outside,
Round the outside. \

First little buffalo \

round the outside \

And everybody swing.

o -

Two little buffaloes

Round the outside,

Etc., as above. Four little buffaloes and two

Three little buffaloes Indians around the outside.

Round the outside,

Etc.

Four little buffaloes
Round the outside ,
Etc.

Four little buffaloes and three Injuns out around the ring.

BUFFALOES AND INJUNS 255

Four little buffaloes

And one Injun

Round the outside,

Round the outside,
Four little buffaloes and one Injun
And everybody swing.

Four little buffaloes
And two Injuns
Etc., as above.

Four little buffaloes
And three Injuns.
Etc.

Four little buffaloes

And four Injuns

Etc.

And everybody siving.
Noiv promenade to your seats.

Note : Out around the ring is often sung instead of the
line, Round the outside.

THE EXPLANATION:

Almost the same dance as the preceding dance, Yaller Gal,
except that since it is sung it has no regular Western dance
introduction or ending. And after the four ladies go round
the outside of the set, they are joined by the first gentleman,
then the first and second gentlemen, etc., until all go around
the outside.

The repetitions of Round the outside in each verse allow
just time enough for the dancers to get around.

In the second half when the Injuns join in with the
buffaloes, there are fewer and fewer dancers left standing
in the set until, by the last repetition, when four buffaloes
and four Injuns go round the outside, the set which they go
around is purely imaginary.

The last line, Promenade, is spoken, of course, and not
sung.

Since this dance is sung to a fixed tune it would argue
that it is the older of the two. And since its use of "buffaloes"

256 BUFFALOES AND INJUNS

is the same as the word in the title of the tune, it suggests
that it might be the original dance.

"Yaller Gal" and "Alligator" of course, suggest a South
ern origin for the preceding dance. I wonder how much it
was changed in coming West, and if it might be the original
which in turn suggested the Western buffalo and Injun
version,

r

Line
Dances

In which the dancers usually form straight
lines which advance and retire toward
each other, or curving lines which
progress in serpentine or circles.

258

FORWARD UP SIX

Forward Up Six

THE CALL:

1. All eight 'balance, all eight swing,
A left allemande,

A right hand grand,
Meet your partner
And promenade.

2. a) First couple out to the right

And circle four.

b) Leave that gal, go on to the next,
And circle three.

c) Take that gal, go on to the next
And circle four.

d) Leave that gal and go home alone.

e) Forward up six and fall back six,

f ) Forward up tivo and fall back tivo.

g) Forward up six and pass right through,
h) Forward up two and pass right through.

Repeat (e) to (h).

FORWARD UP SIX 259

j) Now swing on the corner
Like swingin' on the gate.
Now your oivn if you're not too late.

3. Now allemande ho, Right hands up
And here ive go! And promenade.

Repeat 2 and 3 entire for second, third, and fourth
couples.

Sometimes this dance is ended by substituting for (j)
Lone gents go right and circle four
Now docey-doe with the gents you know,
The ladies go si and the gents go do.
Now everybody swing.

THE EXPLANATION:

1. See page 151 for explanation or substitute any other intro
duction given there.

2. a) First couple advances to the second couple. They join

hands and circle to the left.

b) The first gentleman leaves the first lady with the
second couple (she remains to the left of the second
gentleman and the three join hands in a row). The

Forward up two and fall back two.

260 FORWARD UP SIX

first gentleman goes on alone to the third couple and
joins hands with them while they all three circle to
the left.

c) The first gentleman takes the third lady on with him
(leaving the third gentleman standing alone), and
advances with her to the fourth couple. As he does so
he changes her from his left hand to his right hand
so that she is on his right side when they come to the
fourth couple. They join hands with them and the
four circle to the left.

d) He now leaves the third lady with the fourth couple
(standing in a line of three with hands joined and the
third lady on the left of the fourth gentleman) and
returns to his place where he stands alone.

e) The six dancers standing in the side positions (the
second and fourth men each with a lady on either side
of him) advance four steps and retire four steps.

f ) The two dancers standing alone (the first and third
gentlemen) each advance and retire four steps.

g) The two threes now advance to each other and pass
through so that each exchanges place with the other
three. In passing through each gives his right hand
to the opposite person, thus passing to the left of him
(in most dances the old English traffic rule of passing
to the left survives).

h) The two men advance to each other, touch right hands,
and pass each other to the left. Each continues until
he stands in the other's place. In repeating (e) to (h)
they all pass back and stand in own positions.

j) Each gentleman now swings the girl on his left that
is, his corner girl on his left. He then returns to his
partner and swings her back into home position.

3. See page 153 for explanation or substitute any other end
ing- given there.

tt

If the second call is used the first and third gentlemen
advance to and join hands with the three on their right.
This makes two groups of four, who each circle to the left
and then do a docey-doe (see page 160). After swinging to
home position they are ready for any ending that may be
called.

FORWARD SIX AND PALL BACK EIGHT

Forward Six and Fall Back Eight

261

I I

i I

i I

L I

["'I

I i

i i

I 1

["I

i i

I I

THE CALL:

1. Swing your partners, don't be late.

Swing on the corner like s^u^ng^ri on the gate.
Now your own and promenade eight

2. a) First couple balance-siving.

Down the center and split the ring,

The lady goes right and the gent goes left,

And f&ur in line you stand.

b) Forward four and fall back four.
Sashay four to the right.

c) Fomvard six and fall back eight.
Forward eight and fall back six.
Sashay four to the right.

d) Forward four and fall back four.
Sashay four to the right.

e) Forward six, fall back eight.
Forward eight, fall back 'six.
Sashay four to the right.

262

FORWARD SIX AND FALL BACK EIGHT

f ) Fonvard four and fall back four.

Forward four and circle four.
g) Ladies doe and the gents you know

Circle again and docey~doe.
h) Balance home and everybody swing.

3. A left allemande and a right hand grand.
Meet your partner and promenade.

Repeat 2 and 3 for second, third, and fourth couples.

With beginners it is often better to change (g) to :

Swing your opposite ivith your right,
Now your partner with your left.

THE EXPLANATION:

1. See page 151 for explanation or substitute any introduc
tion given there.

2. a) First couple step back from each other, then advance

to each other and swing. They go down the center of

Forward six wnd eight fall back.

FORWARD SIX AND FALL BACK EIGHT 263

the set and pass between the third couple. The lady
turns to the right and stands at the left of the third
gentleman. The first gentleman turns left and stands
at the right of the third lady. They take hands four
in a row.

b) The four advance in a straight line four steps to the
center of the set, and fall back four steps to place.
Then with gliding steps the line of four circles around
to right (each individual still facing center) until the
line of four stands directly behind the fourth couple.

c) Still holding hands in their row, the first lady gives
her outside hand (left) to the fourth gentleman, and
the first gentleman gives his outside hand (the right)
to the fourth lady so that they form a very flattened
circle of six, all facing center. This six advances to
the center four steps and as they retire four steps,
the second couple facing them goes with them. (This
makes eight fall back.) Now the six advance again
with the second couple who back up ahead of them
to place. And the second couple stands in position,
while the six retire to place. The four, still holding
hands, slide around to the position of the first couple.

d) They advance and retire again and then slide step
around to the right and behind the second couple.

e) Now they advance and retire as in (c) with the second
couple, and the fourth couple following and preceding
the six on the call of eight. They slide around to the
right to the original position of the four.

f) They advance and retire again and then join hands
and form a circle of four in the center of the set.

g) The two ladies do a dos-a-dos or back-to-back around
each other. The two men dos-a-dos>, and the four circle
again to the left and finish with the regular docey-doe
(see page 160 for directions).

h) The first couple returns home. All four couples
balance with each other and then swing.

3, See page 153 for explanation or substitute any other end
ing given there.

264

FOUR IN A CENTER LINE

With many sets on the floor, all advancing and retiring
in perfect time, this is an impressive change to watch and a
very simple dance to do.

In fact, it is so simple that it is a favorite with beginners,
in which case it is best to use the substitute call for (g) on
the opposite page. Then each gentleman gives his right hand
to the opposite lady in the circle of four, swings her around
behind him. He then takes his partner by the left hand and
swings her to the home position.

Four in a Center Line

T WO L A D I E"5

AIM

THE CALL:

1. Salute your company and the lady on the left.
All join paddies and circle to the left.

Break and swing and promenade back.

2. a) First couple balance, first couple swing.

Promenade halfway round the ring.

b) Four hands in line to the center and back.
To the center again and there stand pat,

c) Side couples right and left along the four.
Right and left back as you were before

FOUR IN A CENTER LINE 265 '

d) Side ladies change along the four

And change right back as you ivere before.

e) Center four with a circle four.

Now docey-doe with the gents you know.
The lady go si and the gent go doe.

3. Balance home and swing 'em all night.
Allemande left, go left and right,
Hand over hand around the ring,
Hand over hand 'with the dear little thing.
Meet your own and promenade.

Repeat 2 and 3 for second, third, and fourth couples.

B 0;
For a more complicated figure (d) is called:

Side ladies change through the center of the four
And change right back as they were before.

For the most complicated form it is called :

All four ladies change on a woven track
And keep on changing 'til all change back.

THE EXPLANATION:

1. See page 148 for explanation or substitute any introduc
tion given there.

2. a) The first couple step back from each other, then step

together and swing. They promenade around behind

Side couples right and hft along that four.

266 FOUR IN A CENTER LINE

the second couple and stand to the left of the third
couple, with whom they join hands in a line of four.

b) This line takes four steps to the center and then four
steps back. They advance to the center again and
remain there.

c) Each side couple separates and advances to the center
with the lady going down one side of the line of four
and the gentleman going down the other. Each gen
tleman takes the opposite lady by the right hand and
passes her. As each couple advances beyond the line
of four, the lady puts her left hand in her partner's
left, and, with his right hand around her waist, he
turns her around so as to face the set again. The
two couples each separate and return to their places
now in the same manner, along either side of the line
of four.

d) Each lady advances along the line of four (the fourth
lady in front and the second lady behind) to the
opposite man. She gives her left hand to him and is
turned around by him so that she returns down the
opposite side of the four and her partner turns her
to place by the left hand.

e) The line of four bends into a circle of four and exe
cutes a docey-doe. (See page 160.)

3. See page 154 for explanation or substitute any ending
given there.

If it is desired to make the figure a little more compli
cated the line of four separates in the middle and the two
ladies give each other right hands and pass each other
through this gap. Continuing down the other side, they
meet and are turned by the men as before.

For the most complex form, each lady in the center line
of four advances to the nearest side lady (it is necessary for
the first man to pass his lady around in front of him to meet
the second lady) , the other ladies being already in position,
The ladies give each other right hands and advance to the
next men giving them left hands. The two men in the line
do a half turn, each passing a lady to the center. The two
side men do a full turn sending their ladies back into the

FIGURE EIGHT

267

line. They continue this until each lady has been around
each end man and is back in place. All the while the two
center men keep passing the string of ladies on, always with
a half turn to the left.

Figure Eight

\

"x

THE CALL;

1. All $ight bcdance, and all eight swing.
A Uft aUemande and a right hand grand.
Meet your partner and promenade.

268

FIGURE EIGHT

2. a) First and third couples forward and back,

Forward again and form a line

With the ladies in the lead and the gents behind.

b) Cut a figure eight with the lady in the lead.

c) Circle in the center and break to a line,
With the gent in the lead and the lady behind.

d) Cut a figure eight with the gent in the lead.
Then circle home.

3. Swing your partners all around.
Allemande left as you come doivn,
Grand right and left and so on around.
Promenade, boys, promenade.

This is the commonest form in which the dance is en
countered in the West. However, we occasionally see a more
elaborate form which is really a better dance and is probably
the original one. This more elaborate figure has several
steps in place of (a), numbered below (e), (f), and (g)
then in (h) and (j) it reverses the direction of the figure
eight. It is called :

Cut a figure eight with the lady in the had.

FIGURE EIGHT 269

e) First lady and opposite gent
Right hands cross, left hand back.

f ) Join rights with partners and balance in a line.
With a gee and a haw

And a gee and a haw.

g) Break in the center and swing half around,
h) Cut a figure eight with the lady in the lead,
j ) Break in the center and swing half around,

Cut a figure eight with the gent in the lead.
Now circle four in the Kentucky way.
Siving your rights, now your lefts,
Now your own and balance home.

THE EXPLANATION:

1. See page 151 for explanation or substitute any introduc
tion given there.

2. a) First and third couples, holding hands, advance four

steps toward each other and then four steps back to
place. They advance toward each other again and the
first gentleman takes the third lady by the hand. This
makes a curved line of four.

b) The first lady now leads this line around behind the
second couple by starting through the space between
second and third positions and passing back to back
around the second couple. Then she crosses the set
diagonally and goes behind the fourth couple (between
the third and fourth positions) completing her figure
eight. The line of four faces the fourth couple in
circling them.

c) As the line reaches the center of the set the first lady
and the third gentleman take hands and all circle
four. The third lady and first gentleman break holds,
again forming a line of four and thus putting the first
gentleman in the lead.

d) The first gentleman now leads them all in a figure
eight around the same path that was taken by his
lady. As they reach the center of the set they again
circle four and break and swing home.

3. See page 152 for explanation or substitute any ending
given ther^.

270 FIGURE EIGHT

The more elaborate figure is danced as follows :

e) The first lady and third gentleman advance and join
right hands and turn half around. They let go, re
verse, join left hands, and turn half back. Still hold
ing left hands, each takes his own partner with
right hands. This makes a line of four, with the ladies
facing second couple and the men facing fourth
couple. All four balance by rocking forward on their
right feet and closing with their left, then rocking
backward on their right feet and closing with the
left. They repeat this forward and back balance, the
ladies and gentlemen going opposite directions and
lightly swaying back and forth past each other (or if
they prefer balancing together, they may all balance
toward the fourth couple, then all toward the second) .

g) The first lady and third gentleman let go each other's
hands, and each couple pivots around their own
clasped hands (individuals circling forward) and the
first gentleman and third lady now take hands to
reform a line of four.

h) The first lady marches directly forward leading the
line behind and around the fourth couple (starting
through the opening between first and fourth posi
tions) and continues the figure eight by crossing the
square diagonally and encircling the second couple
(starting around them through the opening between
second and first positions).

j ) As the line of four crosses the diagonal of the square
again, the first gentleman and third lady let go their
holds. Each couple pivots around their own clasped
hands. The first lady and third gentleman now take
hands, reforming the line of four with the first
gentleman in the lead. He now leads the line in a
figure eight around the same path taken by his lady.
As the circle of four closes the men are left back to
back (Kentucky wwy). They let go left hands, and
then swing the right hand girl behind them (as in a
docey-doe) then the opposite girl with the left hand,
then their own with the right again, and so balance
home.

GRAPEVINE TWIST 271

Grapevine Twist

(As called by Mrs. Charlotte Coffman, Stone City, Colorado,
who won the State Caller's Contest with this dance.)

THE CALL:

1. (No introductory call.)

2. a) First couple, just you two,

Step right out and spin 'em a few;

b) Now gather in four to the middle of the floor,
And dance again as you did before.

c) Now pick up six, and don't get mixed,
And dance around 'til you all get fixed;

d) Then simmer down eight, and don't be late.

e) Form the grapevine twist like the one on the gate.
Here you twist and there you whirl

Right around that pretty gwrL

f ) Here you duck and there yu dive,,
Pep up boys, and act alwel

g) Twist 'em right and twi$t *em wrong.
Straighten 'em out and trot right along.

3. a) Now ottemand$ left with your left hand,

Right fynd to partner and right and left grand.
Meet y^nT partner and promenade,
Repeat 2 for second couple and finish with :

272

GRAPEVINE TWIST

b) Promenade, Indian style,

Lady in the lead and single file.

Turn right back and sioing 'em awhile.

Repeat 2 for third couple ending with 3 (a) .
Repeat again for fourth couple ending with 3 (b) ,

THE EXPLANATION:

1. With no introductory call the dancers come skipping on
the floor in single file, hands waving and everybody "hol
lering." Before they come in, they line up as first, second,
third, and fourth couples with the men leading. If there
is more than one set, it is necessary for the first man of
each set to break from the line and skip around the circle
where his set is to be in a direction contrary to the prome
nade direction; that is, clockwise, until he has all his
couples in position.

2. a) The first gentleman takes his partner by both hands

and skips once around in one spot with her near the
center of the set.

Twist 'em riffht, now twist 'em wrong.

GRAPEVINE TWIST 273

b) He lets go with his left hand and takes the second
lady's hand while the first lady takes the second gen
tleman's hand and they all skip around once as a
circle four.

c) The first gentleman again lets go with his left hand
and takes the third lady's hand, while the second lady
takes the third gentleman's hand making a circle of
six. They skip once around.

d) Again the first gentleman lets go with his left hand
and takes the fourth lady with it while the third lady
takes the fourth gentleman, making a circle of eight
which skips around for a few steps.

e) And then the first man lets go his left hand again and
skips in under the raised arms of the second couple,
leading his partner and the second gentleman with
him. This makes it necessary for the second gentle
man to "turn a dishrag" or turn in under his own
right arm without breaking his hold.

The first gentleman turns to the right when he
passes under and circles back again with the others
following toward the middle of the original circle.

f ) He now leads the line under the raised arms of the
third couple (the third gentleman this time "turning
a dishrag" under his own right arm) and turns right
once more circling around to the line, all of whom are
still skipping and following him.

g) He now leads them under the raised arms of the
fourth couple and turns to the right as before for a
few steps, then turns "wrong" or loops back to his left.
He then "straightens them out" by turning right
again and circling roim$ until ; they b^ve joined hands
once more in a^skipping circle oi

3. a ancj b) See pages 152 aB<J || for ^explanation or sub
stitutions,

274 RATTLESNAKE TWIST

Rattlesnake Twist

THE CALL:

1. All jump up and never come doivn,
And swing your honey around and

around,

'Til the holloiv of your foot
Makes a hole in the ground.
And promenade, oh, promenade.

2. a) Now all join hands and circle

to the left.
The first couple break.

b) The first gent lead down the rattlesnake's hole,
In and out with a rattlesnake twist.

c) The first lady lead back
With a rattlesnake tivist,
And circle eight.

3. .Now allemande left with your left hand.
Right hand to partner and right and left grand.
Meet your partner and promenade.

Repeat 2 and 3 for second, third, and fourth couples.

First gent had doum the rattlesnake'* hole*

RATTLESNAKE TWIST 275

This call, only partly remembered by him, was given me
by an old-time caller up at Missouri Lake, Colorado.

THE EXPLANATION:

1. See page 149 for explanation or substitute any introduc
tion given there.

2. a) After all joining hands and circling to the left, the

first couple breaks the circle by letting go each other's
hands.

b) The first gentleman passes under the raised arms of
the fourth couple behind the fourth gentleman, in
front of the third lady, between the third couple and
behind the third gentleman, and so on until he has
woven in and around everyone in the line. The whole
line is still holding hands and without a break passes
in and out after him through the full set.

As the fourth lady passes under, she has to pass
under her own left hand, and, without breaking holds,
pass this left hand down behind her head and out
behind her. Each lady has to do this half dishrag as
she passes under her own hand. But the gentlemen
find that since the line passes behind them they have
to do a complete right about face under their own left
arms before they can follow on after the leader.

c) As the line straightens out and everyone has passed
under, the first lady turns back and leads the line in
reverse under the raised hands of the second couple,
around the lady and back between second and third
couple, in under the raised arms of third couple, etc.,
in and out through the whole line.

In this case, as the second gentleman follows in
under his own right ana, he passes it down behind his
head and out behind Mm, Eaqh of the other gentle
men in turn have to do the same. But the ladies, this
time have to do a complete left about face under their
own rigtft anx^.

When the Jiiie is straightened out the first couple
rejoin handis an<! they all circle to the left.

3. See page 152 for explanation or substitute any other
ending given there.

276 GRAPEVINE TWIST

Grapevine Twist

(Garden Variety)

THE CALL:

1. Honors right and honors left.

All join hands and circle to the /
left, \

Break and swing and promenade
back.

2. a) First gent lead his partner '"-j ~' //

Through the couple on the \ fTyC.. 1 '

right
And around that lady for a grapevine hoist.

b) Out to the center with a haw and gee,

And around the gent with a twiddle-de-dee.

c) Now circle four and lead to the next,

d) And around that lady with a grapevine tivist,
Out to the center and loop right back,
Around the gent on a crooked track,

Now circle six and lead to the next.

e) And around that lady with a grapevine twist,
Out to the center with a figure eight,

Then aroimd the gent; he'll have to wait.
Then circle eight.

Out to the center with & haw and a

GRAPEVINE TWIST 277

3. Now allemande left with your left hand,

Right hand to partner and right and left grand.
Promenade eight ivhen you are straight.

Repeat 2 and 3 for second, third, and fourth couples.

a &

This change is obviously derived from a New England
Quadrille. And yet, it is the favorite square in Anson, Texas,
where each circle is ended with a do-pas-o.

THE EXPLANATION:

1. See page 148 for explanation or substitute any introduc
tion given there.

2. a) The first gentleman holding his partner by the hand

leads her between the second couple and around and
behind the second lady.

b) To the center of the set, where he does a right turn
and circles back over his own track and passes again
between the second couple and around behind the
second gentleman to the center of the set.

c) All four join hands and circle once around to the left.

d) The first gentleman and the second lady let go hands,
and he leads the line of four between the third couple
and around behind the third lady to the center of the
set. He loops to the right and turns back over his own
track where the second lady has just barely got by and
leads the line around the third gentleman. The path
he follows is an exact figure eight, except that the final
upstroke continues on and bends around the third
gentleman. He now circles around the center in such
a way that the second lady e|tn join hands with the
third gentleman, and fee ( tak$& tfef 'hand of the third
lady, making a circle 'of ; $&^ $#^iK;a, few steps the
circle is Broken by Ms teftlfeg go tfeeliand of the third
lady* and ]$e feads the tf&^^&x; to thie fourth couple.

e) He leads tfiw around behind the fourth lady to the
center wJter the |i$0i!<K>jp& back over its own track and

bet^eem Hie foiurfch couple ag^in and around the
g$t!ema$i r II no^ cireles until it picks up the
ec>*iptf Jsetrro^ ^e third lady and the first
aid al ^ight circle to the left.

8. See page i&S or {substitute any ending given there.

278 BIRD IN A CAGE AND ALLEMANDE SIX

Bird in a Cage and Allemande Six

THE CALL:

1. Up and down and around and

around,

Allemande left and allemande aye,
Ingo, bingo, six penny high,
Big pig, little pig, root hog or die.

2, a) First couple out to the right,

With a bird in the cage and
circle three.

b) Bird hop out and the croio hop

in.
All join paddies and go around again.

c) The crow hop out and circle four,

Now docey-doe with the gent you know,
The lady go C and the gent go doe,.

d) On to the next

With a two, four, and six hands round,
Then birdie in a cage ivith five hands round,
The bird hop out and the croio hop in.
All join paddies and go around again.

DOTTED LINES 5ow LEFT

Birdie in a cage with fii">@ hands round.

BIRD IN A CAGE AND ALLEMANDE SIX 279

e) Crow hop out with a six allemande.

Right hand to partner and right and left grand,

Meet your partner and promenade,
f ) Couples swing in and reverse promenade.
g) Now two, four, six, and eight hands round,

Then birdie in a cage and seven hands round,

Bird hop out and the crow hop in.

All join paddies and go around again.

Crow hop out with a left allemande.

Right hand to partner and right and left grand,

Meet your honey and promenade.
Repeat 2 for second, third, and fourth couples.

There are several variations of this call, but we find that
this form works out the most smoothly.

THE EXPLANATION:

1. See page 150 or substitute any other introduction given
there.

2. a) The first couple advances to the second couple and the

first gentleman joins hands with this couple with the
first lady standing alone in the circle of three. As
they turn to the left she slowly pivots in the opposite
direction.

b) The first gentleman now steps in to the center while
the first lady steps out and takes his place in the
circle.

c) The first gentleman now steps out, taking his place
between the two ladies, and the four circle to the left
and then do a docey-doe (see page 160).

d) The first couple advances to the third couple, with the
second couple following and they all join hands in a
circle of six.

The first lady steps tQ the center and the remaining
five circle around her. The first gentleman then trades
places with her a^aip.

e) Instead of taking his place in the circle between the
two ladies who are together, the first gentleman gives
his left hand to the one not his partner. At the same
time each of tibe other two gentlemen do an allemande
left, and they all do a grand right and left (see page

280 FOUR LEAF CLOVER

f ) As they promenade, each couple swings in to the cen
ter, pivoting around the gentleman, and promenades
in the reverse direction. (Without this reversal it is
confusing to get all four couples in the right order
in the next step.)

g) They all join hands again and this time include the
fourth couple (between the first gentleman and the
third lady.) The first lady then steps to the center
while the seven circle round her. The first gentleman
steps in and trades places with her again. He steps
out between the two adjacent ladies again giving his
left hand to the one not his partner. And they all
finish with an allemande left, and right and left grand
(see page 152) .

Four Leaf Clover

THE CALL:

1, Swing your partners, swing all

eight,
Now swing on the corner like

swingin' on the gate,
Now swing your own and

promenade eight.

2. a) First couple out to the couple -s / x P ILOM e MA o e

on the right
And circle four, oh, circle four,

b) Now swing your opposite with your right,
Now your partner with your left,

c) Now four promenade with shoulders over,

d) Now a two and a four and a six hands round,
A left allemande and a right hand grand.
And six promenade and gents shoulder over.
Six promenade like a three-leaf clover.

e) Now two, four, six, and eight hands round*
A left allemande and a right hand grand.
Promenade eight with shoulders over,
Promenade close like a four-leaf clover,

3. Now swing, swing and everybody swing,
Swing your opposite across the hall,
Now the lady on your right.

FOUR LEAP CLOVER

281

Now your opposite across the hall,
Now your own and promenade all.

Repeat 2 and 3 for second, third, and fourth couples.

THE EXPLANATION:

1. See page 151 or substitute any introduction given there.

2. a) First couple advances to second couple and joins hands

with them and all circle to the left.

b) Each gentleman takes the opposite lady by the right
hand and turns her once around, then his partner with
the left and turns her around.

c) Each couple then takes promenade position (side by
side with hands held crossed in front) and the two
gentlemen lean their left shoulders over and brace
against each other as the line of four promenades once
around.

d) Each couple swings in and join hands again, this time
including the third couple, between the second lady
and the first gentleman. They all circle left and then
six do a left allemande and a right and left grand (see

Promenade close like a four leaf clover.

282 INDIAN CIRCLE

page 152) . As they promenade, each gentleman again
leans his left shoulder over so that all three touch and
promenade in this close three-leafed form.

e) They all swing in and join hands again, this time
including the fourth couple between the third lady and
the first man. They circle again and do an allemande
and right and left (see page 152) . When they prome
nade, they come close together, bend shoulders 'til the
four gentlemen are leaning again and circle as a "four-
leaf clover."

3. See page 155 for explanation or substitute any ending
given there.

Indian Circle

THE CALL:

1. War-whoop to center and war-

whoop back, 7 L J~ J

Swing your little squaw 'til all her /~,

ribs crack,
And promenade like you had

feathers down your back. ^ r ,

<^ Hirr

2. a) First couple out to the couple \

on the right, \ [}] ~~

Circle four in an Indian way, ^ - ^
Hold your holds and re-sashay.

b) Then promenade in single file,
Lady in the lead and Indian style.
Turn right back and swing f em atvhile.

Repeat (b) once.

c) Now two, four, and six hands play,
Hold your holds and re-sashay.

b) Then promenade in single file
Lady in the lead and Indian style,
Turn right back and swing f $m awhiU,
Repeat (b) twice.

d) Now a two, four, $ix, and eight hand play,
Hold your hold$ and

INDIAN CIRCLE

283

b) Promenade in single file,

Lady in the lead and Indian style.
Turn right back and swing 'em aiuhile.
Repeat (b) three more times.

3. Noiv swing, swing, and everybody swing,
And an allemande left with your left hand,
Right hand to partner and right and left grand
And promenade eight ivhen you come straight.

Repeat 2 and 3 for second, third, and fourth couples.

THE EXPLANATION:

1. Bending low, all take four steps to center and back, giving
a war-whoop with hands wavering over their mouths as
they do so. Then each couple swings vigorously and
promenades once around the set.

2. a) The first couple advances to the second couple and the

four join hands and circle to the left. Without break
ing holds they reverse and circle to the right,

b) They let go their holds and continue walking in single
file to the right. On the word "turn" each gentleman

Promenade in single fie,
Lady in the lead and Indian style.

284 INDIAN CIRCLE

turns back (a right turn or to the outside of the
circle) and swings the lady behind him.

On the repetition of this call he puts the lady he
has just swung in front of him and they promenade
again in single file, and when they turn back again
each man swings his own partner.

c) The first and second couple again join hands and this
time take in the third couple between the second lady
and the first gentleman and all circle left. Without
breaking holds the six circle to the right.

b) They break holds and promenade in single file, and
each gentleman turns back and swings the girl behind
him. They repeat this until each swings his own
partner.

d) They take hands again and this time include the
fourth couple between the third lady and the first
gentleman. All eight circle to the left and reverse and
circle to the right.

b) They break holds and promenade in single file again,
turning back and swinging the lady behind until each
gentleman gets his own partner.

3. See page 152 for explanation or substitute any other end
ing given there.

r

Divide-the-Ring
Group

v_

Dances in which the characteristic is for one couple to

advance through the center of the set and between

the opposite couple, thus dividing the ring.

Usually the lady circles to the right and

the gentleman to the left and all do

some symmetrical figure.

286 DIVIDE THE RING AND CUT AWAY FOUR

Divide the Ring and Cut Away Four

THE CALL:

1. Honors right and honors left,
All join hands and circle to the

left,
Break and siving and promenade

back.

r y I _ -

2. a) First couple balance, first

couple swing,
Doivn the center and divide the ring.
The lady goes right and the gent goes left,

b) Swing when you meet
At the head and the feet.

c) Down the center and cut aioay four,

The lady goes right and the gent goes wrong.
Swing when you meet,
At the head and the feet.

d) Down the center and cut away tioo,
The lady goes gee and the gent goes haw,

e) And everybody siving.

Down the center and cut away four.

DIVIDE THE RING AND CUT AWAY FOUR 287

3. Now siring on the corner,

Allemande left with the one you swung,
Right hand to partner and trot right along,
Promenade eight when you get straight.

Repeat 2 and 3 for second, third, and fourth couples.

O O

There are several variants of this call. Sometimes the
foot couple does not swing, such as :

Sunng when you meet as you did before,
Down the center and cast off four.
Swing your honey and she'll swing you,
Down the center and a-cast off two,

or when it is desired that all four couples swing, the (b) is
changed to :

Siving at the head and the foot swing too
And the side four swing as you used to do.

THE EXPLANATION:

1. See page 148 for explanation or substitute any introduc
tion given there.

2. a) First couple step back from each other four steps,

then advance and swing together. With the gentleman
holding the lady's hand they walk down the center of
the set and pass through the third couple, who
separate to let them pass. The lady turns right and
walks around the outside of the set and back to place
while, the gentleman turns to the left and does the
same.

b) When they meet at their home position they swing
again, and at the same time the third couple also
swings.

c) The first couple again goes down the center and sepa
rates so that the lady, turning right, passes between
the second and third couple, while the gentleman
turning left passes between the third and fourth
couple. Each continues around the outside of the set
and back to place. They thus cut away or walk

288 SPLIT THE RING AND ALLEMANDE

around four (that is, two on each side) . When they
get back to their own position, they swing again and
the third couple again swings at the foot of the set.

d) Then first couple again advances to the center and
cuts away two (one on each side) by the lady passing
through the second couple and circling the second
gentleman and back home; while the gentleman
passes through the fourth couple, encircles the fourth
lady and returns home.

e) All four couples swing.

3. See page 154 for explanation or substitute any ending
given there.

Split the Ring and Allemande

THE CALL:

1. Salute your company and the lady

on the left,
All join hands and circle to the

left
Break and swing and promenade

back.

2. a) First couple balance, first

couple swing,

Go down the center and split
the ring,

b) The lady goes right and the gent goes left,

c) Swing when you meet both head and feet,
And the side four the same,

d) Left allemande the. corner girl,

And swing your own with another whirl.
Now down the center as you did before,

e) Down the center and cast of four,

Repeat (b), (c), and (d).

Now down the center like you med to do,

f ) Down the center and cast off two.

Repeat (b) and (d),

3. Allemande left with your left hand,

Right hand to partner and right and left grand.
Promenade eight when you come straight.

Repeat 2 and 3 for second, third, and fourth couples.

SPLIT THE RING AND ALLEMANDE 289

THE EXPLANATION : .

1. See page 148 for explanation or substitute any introduc
tion given there.

2. a) First couple step back from each other four steps,

then come together and swing. They advance together
through the center of the set and pass between the
third couple who separate to let them through,

b) The lady goes back to place around the outside of the
set to the right and the gentleman does the same to
the left.

c) When they meet they swing and the other three
couples swing at the same time.

d) Each man gives his left hand to the left hand girl and
turns her around, then returns to his partner and
swings her again.

e) The first couple now goes down the center and the
lady turns right between the second lady and the third
gentleman and returns to place around the outside,
while the gentleman turns left between the third and
fourth couples.

Repeat (c) and (d) as above.

Swing when you meet both head and feet.

290

DIVIDE THE RING AND SWING CORNERS

f ) The first couple advances again to the middle of the
set and the lady passes right between the second
couple while the gentleman goes left between the
fourth couple.
Eepeat (b) and (c).

3. See page 152 for explanation.

Divide the Ring and Swing Corners

THE CALL:

1. Up and down and around and

around, \

Allemande left and allemande aye. \

Ingo, bingo, six penny high, <
Big pig, little pig, root hog or die.

2, a) First couple balance, first

couple swing.

b) Go doivn the center and divide the ring.
The lady go right and the gent go left,,

c) Swing 'em on the corners as you come round,

d) Now allemande left just one

And promenade the girl you swung.

Swing 'cm on th# corner a you come around.

DIVIDE THE RING AND SWING CORNERS 291

e) The same old gent and a brand new girl,
Down the center and away they whirl.

The lady goes right and the gent goes wrong.
Repeat (c) and (d).

f ) The same old gent and a new little thing,
Down the center and around the ring.
The lady goes gee and the gent goes haw,

Repeat (c) and (d).

g) The same old gent and a brand new girl,
Down the center and around the world,

The lady goes right and the gent goes wrong.
Repeat (c) and (d).

3. Now swing, swing, and everybody swing,
Allemande left as you come doivn.
Right hand to partner and so on around,
Promenade eight when you come straight,

Repeat 2 and 3 for second, third, and fourth couples.

THE EXPLANATION:

1. See page 150 or substitute any introduction given there.

2. a) First couple separate four steps, return to each other,

and swing.

b) Hand in hand they walk down the center of the ring
and pass between the lady and gentleman of the third
couple. The first lady turns to the right and returns
around the outside of the ring, while the first gentle
man does the same to the left.

c) When she arrives at his position, the first lady swings
the second gentleman. The first gentleman swings the
fourth lady. At the same time the two stationary
corners also swing.

d) Each gentleman now gives the lady on his left his left
hand and walks once around her. Then returns to the
lady he has just swung and promenades with her
around the ring and back to the gentleman's original
position. (Note that the ladies have each advanced
one position and are now with new partners.)

e) (f ) (g) The first gentleman having brought a new lady
to his position takes her down the ring, divides as in
(b) and then repeats (c) and (d).

3. See page 152 for explanation or substitute any other end
ing given there.

292

DIVIDE THE RING AND DOCEY PARTNERS

Divide the Ring and Docey Partners

THE CALL:

1. Everybody swing his prettiest gal,
Left allemande and a right . hand

grand, j ;

And promenade, oh, promenade.

2. a) First couple balance, first \ V-

couple swing, ! 4

b) Down the center and divide the

ring,
The lady goes right and the \. .

gent gOeS left. D>cFr PAKTNEIM O

c) Docey partners, one and all,

d) Docey corners, don't you fall.

e) Swing your own with a pretty little whirl,

f ) And all run away with the corner girl.

g) Same old gent and a new little thing
Down the center and divide the ring,

The lady goes right and the gent goes ivrong.

Repeat (c) to (f).

h) Same old gent and a brand new dame
Down the center and turn the same
The lady goes gee and the gent goes haio,
Repeat (c) to (f).

10'

Docey corners, don't you fall.

DIVIDE THE RING AND DOCEY PARTNERS 293

j) Same old gent and a brand new date
Down the center and through the gate
The lady goes right and the gent goes wrong.
Repeat (c) to (f).

3. Now you're home and everybody swing,
Allemande left with your left hand.
Right hand to partner and right and left grand.
Promenade eight when you come straight.

Repeat 2 and 3 for second, third, and fourth couples.

THE EXPLANATION:

1. See page 10 or substitute any other introduction given
there.

2. a) First couple steps back from each other four steps,

then together and swing.

b) They walk hand in hand down the center of the circle
and pass between the lady and the gentleman of the
third couple. The lady turns right around the outside
of the set and the gentleman turns left.

c) As they meet each other at their home position they
do a dos-a-dos or encircle each other back to back. At
the same time the other three couples face each other
and do a dos-a-dos; that is, they advance to each other,
each gentleman passes his partner (passing right
shoulders) ; then each moves to the right; they pass,
each other back to back, and, without changing the
direction they are facing, return backward to place.

d) Each now turns to the corner and does a dos-a-dos
with the corner.

e) Each returns to his partner, and partners swing twice
around.

f ) Each gentleman returns to the corner lady and, with
a preliminary allemande left, turns her to his side and
promenades around the set with her and back to the
gentleman's position. (Each lady has thus advanced
one place.)

g), (h), and (j) The first gentleman having brought a
new girl to his position takes her down the ring,
divides as in (b) and the whole set repeats (c)
through (f).

B. See page 152 for explanation or substitute any other end
ing given there.

294 DIVIDE THE RING AND CORNERS BOW

Divide the Ring and Corners Bow

THE CALL: ,,-- r , f - -

1. Swing your partner, siting all / x /^-'"" \ \

eight. ^ j i

Now swing on the corner like !

swingiri on a gate.
Now swing your own and prome
nade eight.

2. a) First couple balance, first

couple swing. \.__

Noiv down the center and CO ENE R S bow^Jop/,

divide the ring.
The lady goes right and the gent goes left.

b) Now corners bow, and partners whirl,

c) And all run away with the corner girl.

d) Same old gent and a new little thing.
Down the center and divide the ring.

The lady goes right and the gent goes wrong.
Repeat (b) and (c).

e) -Same old gent and a brand neiv girl,
Down the center and around the world,
The lady goes gee and the gent goes haw

Repeat (b) and (c).

1'

W/HlO.1.

Corner bow!

DIVIDE THE RING AND CORNERS BOW 295

f ) Same old gent and a new little dame,
Down the center and turn the same,
The lady goes right and the gent goes left
Repeat (b) and (c).

3. Now you're home and everybody swing.
A left allemande and a right hand, grand.
And promenade.

THE EXPLANATION:

1. See page 151 for explanation or substitute any introduc
tion given there.

2. a) First couple take four steps back from each other,

four steps together and swing. They then cross hand
in hand through the center of the ring, and pass be
tween the third couple, the lady turning right around
the set and back to place while the gentleman turns
left to place.

b) Each turns back to corner and makes a deep bow. At
the same time the rest of the set bows to corners. Then
each turns back to his partner and all four partners
swing.

c) Each gentleman again swings the corner lady, turns
her to his side and promenades around the ring with
her and back to his place (the ladies each advance one
place).

d), (e), and (f) The first gentleman having brought a
new lady to his position takes her down the ring, di
vides as in the last half of (a) and then the whole set
repeats (b) and (c). He finally gets his own lady
back and they are ready for the ending.

3. See page 153 for explanation or substitute any ending
given there.

296 DIVIDE THE RING COMBINATION

Divide the Ring Combination

THE CALL:

1, Honors right and honors left.
All join hands and circle to the

left. rj,

Break and siving and promenade ~~~v x

back. 1 J

2. a) First couple balance, first (

couple siving,
Down the center and divide the ring.
The lady goes right and the gent goes left.
Sioing on the corner like swingin* on the gate.
Now allemande left just one
And promenade the girl you swung.
b) The same old gent and a brand new girl
Down the center and away they whirl.
The lady goes right and the gent goes wrong,
Corners boio, partners ivhirl
And all run away with the corner girl.
c) The same old gent and a neio little thing
Down the center and around the ring,
The lady goes gee and the gent goes haw.

All run &way with the corner girl

DIVIDE THE RING COMBINATION 297

Docey partners one and all
Doceu corners, don't you fall
Swing your own with a pretty little whirl.
And all run away with the corner girl
d) The same old gent and a new little girl
Down the center and around the world,
The lady goes east and the gent goes west.
Swing your corners with your left,
Now your partners with your right
Now your corners with your left
And promenade those corners round.

3. Now swing, swing, and everybody swing,
Allemande left with your left hand.
Right hand to partner and right and left grand.
Promenade eight when you come straight.

Repeat 2 and 3 for second, third, and fourth couples.

THE EXPLANATION:

1. See page 148 for explanation or substitute any introduc
tion given there.

2. a) See page 290.

b) See page 294.

c) See page 292.

a), (b), and (c) are repetitions of the three pre
ceding dances.

d) The first gentleman and his new partner divide the
ring as above and as they return to place, all the
corners turn once around with left hand holds. Each
gentleman turns his own last partner with his right
hand, then turns his corner with his left and prome
nades with her. (She, of course, will be his original
partner.)

3. See page 152 or substitute any other ending given there.

a &

This combination form has more variety and is there
fore more fun to dance with experienced dancers. For in
termediate dancers it is sometimes well to let the first couple
do a swing on the corner all the way round as in (a), then

298 DIVIDE THE RING AND FORWARD UP SIX

the second couple do (b) "corners bow" all the way round,
the third couple do (c) "docey partners" all the way round,
and the fourth couple either do (d) "swing with left and
right" all the way round. Or better yet the fourth couple
can summarize (adding the new figure (d) ), by doing the
whole combination dance as given in 2 above thus changing
the figure for each couple, or repeat (a) for (d) in this
combination.

Divide the Ring and Forward Up Six

THE CALL:

1. One foot up and the other foot ^ J__!

down,
Grab your little sage hens and

swing 'em round.
Allemande left as you come doivn,
Grand right and left and so on

around.
Meet your partner and promenade. [/]

2. a) First couple balance, first couple swing,

Down the center and divide the ring.
The lady go right and the gent go left,

b) And between side couples you stand.

c) Forward up six and fall back six.

d) Forward again and right and left through,

e) Forward up six and fall back six,
Forward again and right and left through.

f ) Same couple center and couple up foot,
Four hands round and round you go.
And the lady go si and the gent go do.

g) Balance home and everybody swing.

3. Swing yom opposite across the hall,
Now your own if she's not too small

A left allemande and a right and left grand.
And promenade.

Repeat 2 and S for second, third, and fourth couples.

THE AND UP SIX 299

EXPLANATION:

1. See page 149 or substitute any other Introduction given
there.

2. a) First couple step back from each other four

then step together and swing. Hand in they

walk through the center of the set and between the
third couple. The lady turns to the right and the
gentleman to the left.

b) The lady then stands between the second lady and
the gentleman, and the man between the fourth lady
and gentleman.

c) The three on each side, holding hands in a line, ad
vance four steps toward each other and then fall
back four steps.

d) They advance again four steps, and each gives the
opposite person in the other line of three his right
hand and passes beyond him. Each line thus reaches
the other's position. The individuals turn around
(rightabout-face) and take hands in the opposite
direction.

e) They advance, retire, advance and pass through again
as in (c) and (d), and thus return to their own posi
tions.

Down the center and divide the ring.
The lady go right and the gmt go left.

300

DIVIDE THE RING AND WALTZ CORNERS

f) The first lady and the first gentleman advance to
each other in the center of the set and the third couple
joins them. The four take hands and circle to the left
and do a docey-doe (see page 160).

g) All return to positions, and all four couples swing.

3. See page 156 for explanation or substitute any other end
ing given there.

Divide the Ring and Waltz Corners

Must be danced to very fast waltz time.

/ x

//

/

, /
I I

'.I !

\

\\

\\ll

J

\ \

\\

*.(* \

\

THE CAUL:

I/

1. Honors right &nd honors lft f

' to the left,

2. a) ^

go right
b) Swing o^ fk& corner m$k & w<M% f

DIVIDE THE EING AND WALTZ 301

c) Same old gent icifh a brand new girl,

Down the center and go round the world,
Lady go right ami the gent go wrong.
bl) S icing on the corner with a waltz promenade.

d) Same old gent if he ain't too late.
Down the center and go round the state,
Lady go east and the gent go west.

b2) Swing on the corner with a waltz promenade.

e) Same old gent, he's a doin* it brown.
Down the center and go round the town.
The lady go gee and the gent go haw.

bS) Swing on the corner with a waltz promenade.

3. Noiv you're home.

All eight balance, all eight swing,

A left allemande and a right hand grand,

Promenade eight when you come straight.

Repeat 2 and 3 for second, third, and fourth couples.
& a

In calling the last line of (d), call the two points of the
compass that square with hall and sets.

Swing on the corner with a waltz promenade.

302 DIVIDE THE RING AND WALTZ CORNERS

THE EXPLANATION:

1. See page 148 or substitute any introduction given there.

2. a) First couple separate four steps, reunite and swing

three times around. They then waltz down center and
through the third couples, the lady turning back
around outside to the right and the gentleman to the
left.

b) As they meet the corners (the second gentleman and
the fourth lady), all take dance position with their
corners and waltz once around the set.

c) When the gentleman gets back to place with his new
partner (the fourth lady) he goes down center with
her and passes between the third couple again, (bl)
They all swing on the corner and repeat the waltz.

d) With his new partner (the third lady) he does the
same except that this time he passes through the space
between third and fourth couples and turns left, while
the lady passes through the space between the second
and third couples to the right. (b2) They all waltz
corners again.

e) With his new partner (the second lady) he goes to
the center and while she turns right between the
second couple he turns left between the fourth. (b3)
They all waltz corners, this time getting their original
partners back, with whom they waltz to their home
positions.

3. See page 152 or substitute any other ending given there.

At the beginning of the dance they "cut off six," on the
fir^t repetition, "the world/* they again cut six- For "the
state** tibey cut four, and for the "'town" they ent two.

Both the introduction and the ending a$ well as the
dance* are walteed throp^hoiit. This givm a quaint and
delfehtftef

W4LTZ 303

(A great favorite. Can be sung to the old tune "Sweet Evelina" or
see special music. In some communities al! four couj>lt\s waltz *vnt**'.
around the set as soon as music commences and without a call, Thon
when each returns to place the caller sings.)

THE CALL:

a) First couple down center
And there they divide

b) The lady back center
And the gent stay outside.

c) Now honor your partners

d) And don't be afraid,

e) And siving on the corners with

a waltz promenade,
al) Same couple down center

(And it is all repeated three more times until each
gentleman gets his own lady again and waltzes her
back to place.)

Repeat entire for second, third, and fourth couples.

The lady b&ck center and the gent stay outside.

304

WALTZ QUADRILLE

WALTZ QUADRILLE

vide. The tady back cpffor and fhe qent sfoyout tide Mow

ft J ^J

^ honor you*

'f*

utnm&

n<t

%

'it* a - 7

-fc?
fe/i

' m
i am

4 .

3^5
f w lag oft M

e

corners with a tvaltt pwne trade

Younger sets who have danced this often get tired of
the many repetitions. If the first couples dance twice, in
stead of four times, then the second couples twice, the ladies
will be back in place ; then the third couples only twice, and
the fourth twice and they will be back again, and the dance
will have been cut in half.

THE EXPLANATION :

a) The first couple waltzes down through the center of
the set aBd between the third coupfe A$ they separate
it loote wall f)r the man to tern the l^cty Hinder his
left arm ^i% the flourish of a MtUi whirl

b) She waltzes back to position alone ttoo^gh the center

WALTZ QUADRILLE 305

of the set, while the gentleman turns left and waltzes
alone around the outside of the set and back to place.

c) As they meet each makes a deep bow to the other and
at the same time the other couples bow low to each
other.

d) Each turns and bows to the corner lady. (Don't hurry.
Do not take dance position with corner until the words,
"Swing on the corner.")

e) Then each man takes his corner lady in regular dance
position, swings her once around, and waltzes her
around the set. It is important that each couple keeps
its relative position the same while waltzing and that
each follows the exact path of a promenade around the
set, rotating always to the right to keep from breaking
the symmetry of this path. Each must be back in
place in exact time for the call when it continues.

al) Each gentleman now has a new lady beside him. The
first couple (with a new lady) repeats the above en
tire. After dancing the whole dance four times (once
with each lady) each gentleman has his partner back.
And the call continues with "Second couple down
center."

Note: Instead of calling Swing on the corner which Is
the standard form, some callers substitute Dip to the comer
and waltz promenade, in which ease the waltz starts with
the balance step described on page 100 Instead of with a
swing.

In Illinois they usiially call the first and third couples out
at the some time. They waltz past each other across the
center of the set. Each lady turns right around the outside
of the set, and each gentleman to the lef 1 As the gentlemen
pass the opposite ladies behind the side couples they pass to
the outside giving the ladies the shorter path. This cuts the
dance in half and keeps more people In action all the time.
After the head couples have danced four times and liave
their own ladies bacfe the $Ide couples do the same.

The call cottlet be:

dpwn center

&y divide
go right
Amd ike gents pass owtsi&e

fw* partner^ etc.

r

.

Symmetrical
Dances

In which all four couples do the same thing at
the same time, making a symmetrical
figure, or opposite pairs do com
plementary figures leading
to a symmetry.

308

FOUR GENTS LEAD OUT

Four Gents Lead Out

THE CALL:

1. All eight balance, all eight swing,
A left allemande and a right hand

grand.
Meet your partner and promenade.

2. a) Four gents lead out

To the right of the ring.

b) And when you get there
Just give 'em a siving.
And ivhen you do that
Remember my call

c) It's allemande left

d) And promenade all.

Repeat three more times.
al) Four ladies lead out
To the left of the ring

Give 'em a swinff It's allemande left. (Showing all stages of this

transition.)

FOUR GENTS LEAD OUT 309

bl) And when you get there

Just give them a swing.

And when you do that

Remember my call
cl) It's allemande left
dl) And promenade all,

Repeat three more times.

3. (Usually omitted or any ending can be used.)

& & 8

It is apparent that this call was originally sung to its
own special music. Sometimes we hear it now sung to the
Irish Washerwoman. But usually today it is called, not
sung.

THE EXPLANATION:

1. See page 151 or substitute any other introduction given
there.

2. a) Each gentleman steps behind his own lady and ad

vances to the next lady on his right. (The first gentle
man advances to the second lady.)

b) He takes regular dance position with her and swings
twice around.

c) He then returns to his original lady and turns her
once around with his left hand. (That. is, the first
gentleman does an allemande left with the first lady.)

d) And then returns to the lady he Jia& jpst swung (that
is, the first gentleman returns to the second lady).
And he promenades with her ajouB$ the set and back
to his own position. This means $acfa lady has dropped
bac?k one position. After three more repetitions each
lady is bacfe fewte wiife |i^r partner.

al, bl) Each ib4rl$p& fe^^i her portlier and advances

to fee &$$ ifap$ i0B; feer |^t 'a^f 'fwiags with 1 him.
cl) She i<ifes !fft '^iti iqr original partner.

dl)

Iplfc^t Ms pomtfon. At
- toti finally

(fefec is
tf m

310

THE CALL:

TEXAS STAR

Texas Star

1. Salute your company and the lady

on the left,
All join paddies and circle to the

left.
Break and swing and promenade

2. a) Ladies to the center

And back to the bar. ,

b) Gents to the center
For a Texas Star,

With the right hand cross.

c) Back with left and don't get lost.

d) Pass your gal and take the next.

e) Ladies swing in and the gents swing out.

f ) Break in the center and everybody swing.

g) Now allemande left just one,

h) And promenade the girl you swung.

(Just after) Ladle* swlnff in ewtd the

owing out.

TEXAS STAR 311

Repeat three more times, on the first and second

repetition saying :
Pass that gal and take the next.

And the last time saying :
Pass that gal and take your oicn.

3. Now you're home and everybody swing,
Allemande left with your left hand
Right hand to partner and right and left grand,
Meet your partner and promenade.

o o o

The whole call, sometimes, is repeated in reverse by
calling:

Four gents to the center and back to the bar.

THE EXPLANATION:

1. See page 148 for explanation or substitute any introduc
tion given there.

2. a) The four ladies advance to the center of the set and

each makes a rightabout turn so they stand momen
tarily back to back. (It is really more of a turn and
a dip than a turn and a pause.) And then each returns
to her own place.

b) The four gentlemen advance to the center of the set
and join their right hands and circle to the left.

c) Each reverses and they join left hands and circle
back to the right.

d) Each continues circling past his OWB partner, and,
still holding left hands in the -center, each man offers
his right ^rtn to th$ ro*t fecly. She hooks on to his
arm and Circles witi Mm in a double mill.

e) The $j*!0men tefc gp, \'-m''M center ^nd each pivots
his 3Wy ; tby T all : ria$r itt tofatlter and the ladies
joii* rifpit !^M^!'ik't^ r &Witer, TS& -mill now reverses
' k|t,t^;t^(if^$ still holding

'- riglt 13^*1^ tod , th& pxen's arms hooked

'' "''

'<3etw< m$ 'e^ch man swings
with his^lady and they swing

312 SWING AT THE CENTER AND SWING AT THE SIDES

g) Each gentleman then swings the lady on his left once
around with his left hand.

h) And returns to the lady with whom he just swung
and with whom he had circled in the mill, and they
promenade around the set until the ladies are again
called to the center. Each time the ladies advance in
position to the next man until finally they come back
to their own.
3. See page 152 or substitute any other ending.

Swing at the Center and Swing at the Sides

THE CALL:

1. All jump up and never come down,
Swing your honey around and

around,

'Til the hollow of your foot
Makes a hole in the ground.
And promenade, oh, promenade!

2. a) First and third couples for-

ward and back,

b) Forward again and the sides The start, each walks com-

divide. pletely around his square

c) Swing at the center and swing in direction indicated.

at the sides.

Swing at the center end swing at the sides.

SWING AT THE CENTER AND SWING AT THE SIDES 313

Siring at the center and swing at the sides.
Siring at the center and siring at the sides.
Siring at the center and siring at the sides.
d) Now allemande left with your left hand.

Right hand to partner and right and left grand.

And promenade, oh, promenade.

Second and fourth couples forward and back

Repeat (a), (b), (c), and (d).
Third and first couples fonvard and back.

Repeat the whole dance again.
Fourth and second couples fonvard and back.

Repeat the whole dance again.

3. Any further ending usually omitted.

THE EXPLANATION:

1. See page 149 or substitute any other introduction given
there.

2. a) The first and third couples each advance four steps to

the center of the set, curtsy to each other and return
with four steps to places.

b) They advance agaip to the center and stand facing
each other while the side couples separate from each
other, and stand individually at the four corners of
a larger square outside the set.

c) The first gentleman takes the third lady by both hands
and swings around with her so that they exchange
places and the third gentleman does the same with
the first lady. At the same time, as the center couples
swing in this way, the side couples also swing. The
second gentleman advances to the fourth lady. They
meet (at the home position of couple number one),
take both hands and swlng^round exchanging posi
tions, and th@y walk -backward to the other's original
pomtioit At the same tfcnae the second lady advances
to the fourth gentleman (meeting him in the original
<$OtiitfM$ ,tOf 'til tlird couple) they take hands, turn,
anid go to f^cti other's corners.

(to gj&$jti ; repetition each continues around this
,3431$?$ ,3* * t{te direction he is going, the individuals of
the second awd f<H*rth couples going from corner to
the larerer outer sauare. and the individuals

314 SIDES DIVIDE

of the first and third couples to the corners of the
smaller inner square, always taking both hands of
the person they meet in the middle of the sides, re
leasing and continuing on to the next corner, until
each is back in his original corner.

000

In both the outer and inner square the gentlemen go
around the square from corner to corner in a clockwise
direction, while the ladies go in a counterclockwise direction.

d) Each gentleman does an allemande left (turns the
left hand lady with his left hand) with his corner.
It happens that this is always the person on the same
corner of the other square. That is, each person in
the inner square does an allemande with the person on
the nearest or identical corner of the larger square.
Then they give right hands to their partners and do a
right and left grand around the set. When they meet
their partners again, they promenade back to position.
In the first repetition the dance is the same, but
the sides come to the center and the head couples
separate. The second repetition is identical with the
dance described above, and in the last repetition the
sides again come to the center square.

Sides Divide

THE CALL:

1. Honors right and honors left,
All join hands and circle to the

left,

Break and swing and promenade
back.

2. a) First and third forward

And the

b>

c) Fir$t an$ t^ird forward
And $h@ : *cte? <34mde

And

SIDES DIVIDE

d) First and third forward and the sides divide.
Change at the center

And swing the sides.

e) First and third forward
And the sides divide.
Change at the center
And swing the sides.

3. Now you're home and everybody swing.

With a left aUemande and a right hand grand,
Meet your partners and promenade.

315

THE EXPLANATION:

1. See page 148 for explanation or substitute any introduc
tion given there.

2. a) First and third couples advance to each other. As they

do so the individuals of the second and fourth couples
separate from each other and stand at the outside
corners of the set,
b) The first gentleman takes the third lady by both hands

Change and &win(i the center and swing the sides.

316 RUN AWAY TO ALABAM'

and exchanges places with her, and these two back up
into the fourth couple's position. The third gentleman
does the same with the first lady and finishes in second
couple's position. At the same time the second gentle
man and the fourth lady meet, swing (two hands) and
remain at the first position while the second lady
and the fourth gentleman do the same at the third
position.

c) Those occupying first and third position advance to
center and those in second and fourth position sepa
rate, and they all swing and change position and
partners as in (b).

d) Those standing in first and third position now ad
vance to center, and the others proceed as in (c) .

e) This repetition (same as (c) ) brings each dancer
to his own partner and back to his own position.

3. See page 153 or substitute any other ending given there.

This can be danced by having the regular swing (twice
around in dance position) each time instead of the two-hand
swing.

Run Away to Alabam'

THE CALL:

1. All eight balance, all eight swing.
A left allemande and a right hand

grand,

Meet your partners and
promenade.

2. a) Now swing, swing, and every

body swing.

b) Swing them ladies to the center
And let f em

c) G$nt$ rm

wrfmqr and swing the newt.
(jbi) ml (c) itee* more time, f cw times
ft ii$ la&f ^petitions calli^ * , ,

RUN AWAY TO ALABAM* 317

3. Promenade Indian style.

Lady in the lead and single file.
Stop and siving her once in awhile.

Repeat three more times or until straight.

Repeat 2 and 3 except this time with men to the

center, calling:

Gents to the center.
And let f em stand.
Gals run away to Alabam 9 .

THE EXPLANATION:

1. See page 151 or substitute any other introduction given
there.

2. a) Everyone swings his partner vigorously.

b) The girls are swung off to the center of the set where
they stand back to back.

c) The men all circle to the right around them (in single
file and without holding hands) and continue past

Let 'em stand and the gents run away to Alabam'.

318 THE OCEAN WAVE

their partners to the next lady with whom they
swing.

They repeat this until they come to their original
partners and swing them back to the home position.

3. See page 159 or substitute any other ending given there.

The Ocean Wave

(Requiring careful teamwork and careful timing.)
THE CALL:

1. Honors right and honors left,

All join hands and circle to the ^~~

Wt, (^

Break and siving and promenade ^-^
back.

2. a) First couple out to the right,

b) Wave the ocean, wave the sea,
Wave that pretty girl back to

me.

c) Wave the ocean, wave the shore,
Wave this time and a-ivave no more.

d) On to the next and the second folloiv up.

e) Wave the ocean, wave the sea,
Wave that pretty girl back to me.
Wave the ocean, wave the shore,
Wave this time and a-wave no more.

f ) On to the next and the third follow up.

g) Wave the ocean, wave the sea,
Wave that-pretty girl back to me.
Wave the ocean, wave the shore.
Wave this time and Or-wave no more.

h) $($nce fyome and everybody

S. W alfemi^ Uftwtfk f<mr left hand.
to

Repeat for 90003^ *Mr<i, ai4 f oiirfh

THE OCEAN WAVE

319

THE EXPLANATION:

1. See page 148 or substitute any other introduction given
there.

2. a) First couple advances to second couple.

b) First couple passes between them, the lady circling
around the second man and the gentleman circling
around the second lady. The first couple meets in the
center and swings once around.

c) They again pass through and circle the second couple
exactly as in (b). They meet and swing a second
time,

d) They advance to the third couple and on the words
"second follow up" the second couple swings once
in place (in order to give first couple the proper in
terval of lead), and then the second couple follows
the first.

e) The first couple passes through and around the third
couple swinging always when they come back to
gether exactly as in (b) and (c) . This time the second

(First couple passing through third couple while second couple is

swinging.)

320 THE OCEAN WAVE

couple follows them through and around the third,
swinging in the same way but timing the swings and
passage so as not to interfere with the other couple.

f ) The first couple after their second swing advances to
the fourth couple. While they do so the second couple
executes their second swing and on the words "third
follow up" the third couple swings in place (in order
to give the second couple the proper lead) and then
follows the others to the fourth couple.

g) Now a procession of three couples passes between and
around the fourth couple exactly as in (b) and (c)
and each couple swinging each time they meet in the
center. With a little care and careful timing, there
will be no confusion or collisions on the part of good
dancers. Each must make a good large circle out and
around the fourth lady and fourth gentleman, in order
to leave adequate time for the other couples to swing.
And each couple must be careful not to come together
between the swinging couple and the fourth couple,
but come in from the side or even a little behind from
a good large circle, before they take their swing.

h) Each couple takes the final swing and returns to
place. However, if the first couple swings directly to
place, they are apt to collide with the second gentle
man who at that time is coming in from the side to
meet his lady. So, if the first couple swings directly
back or towards the second couple's position and then
around to its own place, this collision can be avoided.
The second couple, of course, goes naturally to its
own position and thus avoids collision with the third.
While the third swings to place, the fourth couple
which has been patiently standing till now also swings
in place, and all are ready for the ep<Jing.

3. See page 152 for explanation or substitute any other end
ing given there.

THE CALL:

POKEY NINE

Pokey Nine

321

C EXTR.-A

\J

1. AH ei#M balance, all eight swing,

A left allemande, and a right hand grand,
Promenade eight when you come straight.

2. a) First couple balance, first couple swing,

Lady go right and the gent go left.
b) Three by three in a pokey -nine,
Three by three in a pokey-oh,
Three by three and on you go!

Three by three in a pokey nine.

322 POKEY NINE

c) The lady go on and the gent catch up.

d) Three by three in a pokey-nine,
Three by three in a pokey-oh,
Three by three and on you go.

e) The lady go on and gent catch up.
Three by three in a pokey-nine,
Three by three in a pokey-oh,
Three by three and on you go.

f ) The lady stay there and the gent catch up.
Noiv circle four, oh, circle four.

g) And docey-doe ivith the gent you know,
The lady go C and the gent go doe.

3. Balance home and swing 'em all night,
Allemande left go left and right,
Some'll go right and some'll go le-e-ft.
Promenade, oh, promenade.

Repeat for second, third, and fourth couples.

THE EXPLANATION:

1. See page 151 or substitute any other introduction given
there.

2. a) The first lady and gentleman step back from each

other four steps, then come together and swing. The
lady then goes right to the second couple and the
gentleman turns left to the fourth couple.

b) The first lady and second couple join hands and the
three circle to the left. At the same time the first
gentleman and the fourth couple circle three in the
same way. And often the caller joins the third couple
making another circle of three and dances while he
goes on with the call. Any odd person from the side
lines joins the third couple of each other set, so that
in each set there will be three circles of three each
for a "pokey-nine." After the word pokey-oh tfeey all
reverse and circle right.

c) T;be lady advances to the thir<| ewple, tb^ gentleman
advices te the ^ecoad, and t&e callet or the odd
peimra ip eacfc .qgt ^v&Bce to th^ I wrth.

d) *$&* librae circle twn left agala and tbseii reverse &s
i (b).

POKEY NINE 323

e) The first lady advances to the fourth couple, the
gentleman to the third, and the caller to the second,
and they circle threes again as in (b).

f) The lady remains with the fourth couple while the
gentleman advances and joins her there. And the
caller or the odd dancer drops out of the set. The first
and fourth couples with hands joined circle four to
the left, while the other two couples stand stilL

g) They then do a docey-doe (see page 160 for a descrip
tion).

3. See page 154 for explanation or substitute any other end
ing given there.

The cowboy pokey is a distant and disinherited relative
of the elegant polka. In this dance it has completely for
gotten its great grandmother, and is nothing but the gliding
walk of the regular square dance.

324 THE SINGING QUADRILLE

The Singing Quadrille

To be sung to special music

THE CALL:

1. a) Dos-a-dos your corners

b) Dos-a-dos your partners.

c) Allemande left your corner s f

d) Allemande right your partners
And siving them twice around.

e) Balance to your corners.

f ) Siving your corner lady
And promenade the hall

Repeat three more times.

2. g) First couple down center

And there they divide.

The lady goes right

And the gent he goes left,
h) Balance your corner
j) And don't be afraid.
k) Dip to your partner

And waltz promenade.
Repeat for second, third, and fourth couples.

SINGING QUADRILLE PART ONE
Dos-a-dos your

THE SINGING QUADRILLE 325

3. 1) All join hands and circle

To the left around the hall,

To the little old log cabin in the lane.
m) Whoa, you're all going wrong.

Go back the other way

To the little old log cabin in the lane.
n) Places now, and balance all f

And everybody swing

To the little old log cabin in the lane,
o) Your left hand on your corners

And your partners by the right

And a grand right and left half around.
p) The first one by the right hand,

And the next one by the left

To the little old log cabin in the lane,
q) And ivhen you meet your partner

Take your homeivard flight

To the little old log cabin in the lane, lane, lane!

THE EXPLANATION:

1. a) Each gentleman faces the lady to his left and com
pletely encircles her and returns to place without
changing the direction in which he is facing. She at

SINGING QUADEILLE PART TWO

The lady goes right and the gent he goes left.

326

THE SINGING QUADRILLE

the same time in the same way advances and encircles
him. They pass right shoulders, sidestep to the right
passing back to back, and pass left shoulders in re
turning to place.

b) Each gentleman turns around and does exactly the
same as (a) with his own partner.

c) Each gentleman joins left hands with his left-hand
or corner lady, and circles around her and back to
place.

d) Each gentleman now joins right hands with his part
ner and circles twice around her (in order to fill out
the measure of the music) .

e) Each gentleman and his corner lady advance and bow
to each other.

f ) Each gentleman takes his corner lady in dance posi
tion and swings her around and then promenades with
her around the square and back to his position. She,
however, has left her position and advanced one place.
(By the last repetition of the figure she has worked
back to her own partner again.)

2. g) The first couple waltzes down the center of the set
to the third couple and waltzes between them. Here

SINGING QUADRIIXJE^PART TttitEE
Your left hand on your corner.

THE SINGING QUADRILLE 327

they separate and the lady then waltzes to the right
around the square, while the gentleman turns to the
left.

h) Almost back to their own positions each turns and
makes a deep bow to their corner. The inactive corners
bow to each other at the same time.

j) All four gentlemen now turn to their own partners
and make a deep bow.

k) They take their partners in dance position and dip
back on their left feet, the women rocking forward on
their right feet. (Each rises on the toe of this foot and
then sinks ; the one-two-three count becoming, step
rise fall.) The couples then waltz around the square,
timing it carefully to be back for the next repetition.

3. 1) All eight join hands and circle around to the left,
m) On the word ''whoa/' they suddenly stop (and if they
feel dramatic, look very hurt and surprised). Then
each gentleman takes his partner in promenade posi
tion, and they march back to their own places.

n) Here each gentleman and his partner step back from
each other four steps with a flourish, and then come
together and swing twice around.

o) Each gentleman then swings his left-hand lady once
around with his left hand (a regular allemande left)
gives his right hand to his partner and does a regular
right and left grand. However, since in a Western
right and left grand each gentleman meets his partner
in the opposite position (couple number one meets at
number three's position) and there promenades with
her, according to the old tradition, this is only a half
right and left. In the olden times it would have had to
continue on until he met her again in their own home
position before they promenaded.

p) Therefore he now takes his partner by the right hand.
They each pause a momeirt and make a deep eurtey.
They then eOntii^ie the right and left and meet again
at their own position.

d) Here tbiy take their partners in promenade position
a|i(i niapii around the

SINGING QUADRILLE
Figure I

i

Dos-a doY your cor-

ner

^i -

Pos-a-do$ your part-ner

^F

Al-le-manJ left your cor-ner

rir r p

/\(-(e-7nand right your part-ner And svmg her twee a.-round .

r n| r J

l-ance io your cor-ner

your cor- Tier la- dy Andprom-e-nadetkcfia.il,
JJ} | J J)=k=T=E

Rgure II

^^

&~

there ikc

\ X ^-.g*' 'm!

^^1^--:

^1^>1' h

i J

r '::f^r;.^-f

!^\)^ : ^' 7 '- r '^ :
i , , , , ,

^r-n ,|

: ;^:^.f^.;4-J

rj : ^:.l

,Jt:M ; -'g: :

;-p- ^ .

SINGING QUADRILLE

Figure III

329

All join hands and cir-ck to the left a-round the hail, Jo ike

JIJ-1J.N If \

L i t-tle Old Log Cabin w ihe Lane* you. are ait ao-mti

f3

*

backike otk-er way To the lii-ilt Old Log

(f^P J * ^

Cabin m the Lane. Pid-ces nov erne/ bal- a nee all and

ev-'ry bod-y s^i\\a } To the Lit-tle OldLw Cab-m m tke

Lane you r left hand en yew ccm^ and your part-ner by your

1

~_X ^^

nght **duQu grdnd rM and Lett half a- round.

First by the rty/it hand anJ -ntxtone by tke tffi , To tke.

Ld-tU QJdLoj Cab-m m the Lane,

Antf

Lit tie 0U U<f Ca&^n in the Lane.

330

SINGING QUADRILLE

Figure IV

Oh the first and third Gents to

fe

Pass 'em by the right A*ielpass'&rn by the left Nou swmy 'em

S

^

round And back to your own t All swing that

side you, A/o*/ oass'em bythe riyAt And pajs'ern buthe

^

left hkhni bear doun etqkt and -mind ycu All

htnct And SLn-jUprom-e-wade All suinythat girl he-

hind UOLL .

NOTE: Many musicians play eight bars instead of the last sixteen
bars as written above, while the dancers waltz arotind the square. In
this case it is best to play the first four bars as written in the top line
at the very beginning of the music above, them the 13th to 16th bars
instead of the last sixteen Jws as written.

WALTZ THAT GIRL BEHIND YOU

Waltz That Girl Behind You

331

TUNE: The Girl I Left Behind Me, in waltz time can be used as part
four of the Singing Quadrille. See previous page.

The whole dance is done with a waltz step and a pronounced dip on
the first beat of each measure.

Br T-ttE JLIG4IT

JOIN LETT-HANDS

e>r T-HE LEFT
THE CALL:

a) First and third gents
To the opposite ladies.

b) Pass 'em by the right
Pass 'em by the left,

c) Siving 'em around
And back to your own.

d) All swing that girl beside you.

e) Pass 'em by the right
Pass 'em by the left f)

f ) Now bear down eight and mind ** '

you. ""*'

g) Spin 'em behind <m4 #wgtb promenade,
|i) Then waltz tho$ : ff$rl beMnd you.

foiirth

fourth

a few of the lines were given us by an old
caller who t fea4 fory otte^t tHe (Jance. From his suggestions we

332

WALTZ THAT GIRL BEHIND YOU

worked out the dance as given above and in this half-
original form it is a great favorite with our dancers. Bear
down eight is one of his phrases which we have retained,
but for beginners, to whom you are teaching the dance
circle eight would be more easily understood than the origi
nal phrase. In singing this to waltz time the caller will find
himself adding the syllable, "ah" to many of the words in
order to hold the rhythm as :

''Pass 'em by the right-ah!
Pass 'em by the left-ah!"

This adds to the charm of the call.

THE EXPLANATION:

a) The first and third gentlemen waltz across the set
to the opposite ladies and take the places of each other.

b) Each faces the opposite lady, and the lady and gen
tleman, starting with the right foot, advance with a
waltz step to each other, taking right hands and pas
sing. They make a half turn back with a sort of
waltz-balance step on the second measure. They pass
each other touching left hands on the third, and turn
back on the fourth.

c) The first and third gentlemen swing the opposite
ladies once around with two waltz steps, and with
four waltz steps return to places.

Pass >em by the left.

WALTZ THAT GIRL BEHIND YOU 333

d) All four gentlemen swing their own partners with a
waltz step on the last words of this phrase.

e) All four gentlemen face their partners, and, starting
with the right foot, advance with a waltz step touch
ing right hands, pass each other and turn back on a
waltz-balance step, pass each other, touching left
hands on the third measure, and turn back to each
other with a waltz-balance step.

f ) They all join hands in a large circle and with a pro
nounced dip take four waltz steps to the left.

g) Each lady lets go the gentleman in back of her and,
still holding her partner's right hand in her own left,
she is swung by him toward the center of the circle,
once under his arm (rotating leftabout-face) to give
her a complete spin and to a position beyond him in
the circle. They let go hands and all dance to right
around the circle in single file with a waltz step.

h) Each gentleman turns outward from the circle (to
the right) and back to the girl behind him (his own
partner still) and waltzes with her. (It is better if all
four couples do a waltz balance dip at the same time
before waltzing. See page 100.)

The music now repeats (e), (f), (g), and (h)
(sixteen measures) and in this time each couple have
waltzed once around the set, (in promenade direction
and all rotating to the right) and should be back in
their own positions ready for the next repetition.

Pass 'em by the right
And pass 'em by left

offers enough difficulty that it may merit a more detailed
analysis of the f ootwprt The lady and gentleman each use
identical footworfe.

Advance toward youpir p&rfiaer with a right step (at the
same time clasping right tiaifccfe) > step OB beyond with a left
step, and close tibe right fp4t to the left Now step on be
yond with a ie$> b^t |>et tills I<tf t foot down at right angles to
fts of mpfeix and potat&g directly to your right. Then
ou! *%M toififce $$$e of ywir left turning: as you do so,
pit ywr iff! ttowte %ain IB its same position but point-

334 WALTZ THAT GIRL BEHIND YOU

Ing directly backward to your previous, line of motion. As
you have taken these last steps you have let go right hands
with your partner.

You are now facing your partner again and you clasp
left hands with her as you step forward again on your right
foot. Step on beyond with your left foot and close your right
to your left. Step on beyond with your left, turning left face
as you do so and placing the left foot at a ninety-degree
angle with your previous line of motion. Now a short-balance
step with the right on beyond your left as you complete the
turn. And place your left down again in the same position
but again reversed and pointing back to your partner with
whom you have again broken hand holds.

That is, the partners take right hands, waltz by each
other, and do a rightabout-face. Then they take left hands,
waltz by, and do a leftabout-face, always starting toward
each other with a right step. As they become smoother they
become less geometrically accurate and more graceful and
natural in their footwork.

Intermingling
Dances

With two or more sets Involved.

336

GRAND MAECH CHANGE

Grand March Change

(All the sets should be in one row down the middle of the floor, for
the length of the hall.)

BY
COUPUE TUP.N Wcni A LEFT PIVOT TUH.N

-AfLbOIL,

THE CALL:

1. All eight balance, all eight siving,

A left allemande and a right hand grand.
And promenade, oh, promenade.

2. a) First couple "balance,

First couple swing.
First couple promenade
The inside ring
And face the ivall.

b) Second couple balance,
Second couple swing.
Second couple promenade
The inside ring

And face the wall.

c) Ends move forward
And sides fall in.

d) M^rch! The ladies go right
And the gent$ go left.

e) L&dies cirele inside
Gmts cirele out;

f ) Now $ent$ Circle inside

Down the Qtmttf two b*y two.

GRAND MARCH CHANGE

337

h)

Open your lines

As you open a book.

Forward all, fall back all.

Pass right over to the opposite wall.

Forward all, all fall back,

Pass right over to the same old track.

Forward again and take your own.

March! Column right around the hall.

Now serpentine and see 'em alL
1) Noiv down the center with an arbor way,

'Til you're back in line in the same old way.

Now first couple right

And the second couple left.

And down the center four by four.

First four right

And the second four left.

And doivn the center eight by eight.
o) Each couple turn with a left pivot swing,

And march right back.

Now backivard march,

j)

k)

m)
n)

P)

And circle eight.

Down tfoe center four by four.

338 GRAND MARCH CHANGE

q) First and second couple right and left through,
And the sides the same. Right and left back.

r) Now the tiuo ladies change,
And change right back.

s) Now half promenade,
And right and left home.

3. Now swing, swing, and swing 'em all day.
Nou) allemande left in the same old way,
And right and left grand around the ring
Hand over hand ivith the dear little thing.
Promenade, oh, promenade.

This can be repeated with the second, third, and fourth
couples leading, each time marching in a different direction,
or it can be followed directly by any other dance the caller
may choose.

THE EXPLANATION :

1. See page 151 or substitute any other introduction given
there.

2. a) The first lady and gentleman separate four steps

from each other and swing. They then promenade
around the set inside the other three couples, and
finish in their original position but facing the opposite
direction, or "towards the wall" with their backs to
the center of the set.

b) The second couple does the same except that they stop
directly behind the first couple facing in the same way
as the first couple.

c) The third couple steps forward and stands directly
behind these two and the fourth couple moves over and
.gets in line behind the third couple. This puts all the
sets on the floor lined up in a column of couples.

d) They all march, forgetting their sets and making one
tong column. The ladies turn to the right and the
gentlemen to the left and each single file circles
around; the outside of the hall.

e) When they meet at the foot of the hall the ladies pass
to the inside and the two files continue past each other.

GRAND MARCH CHANGE 339

f ) When they meet at the head of the hall, the two lines
pass each other again, this time with the men circling
on the inside of the ladies.

g) When the two columns meet at the foot of the hall
they march up the center two by two, with the ladles
back on the same side, to the right of the gentlemen,
as when they started.

h) As soon as the double column fills the length of the
hall, they stop. The men and women face each other
and take four steps backward, separating the two
lines.

j) The two lines advance to each other four steps and
separate again. They advance and the two lines pass
through each other (each person touching his partner
by the right hand in passing so as to pass to the left)
and continuing on until each line stands in place of
the other. Each individual does a rightabout and the
two lines advance to each other again and fall back
again. Then they advance and pass through to their
own places. They all do a rightabout and face each
other again, and the two lines advance and form a
double column again facing the front of the hall.

k) The column marches to the head of the hall turns
right and marches around the wall to the foot. It
marches clear across the foot of the hall and then
doubles back on itself, so that every couple passes
every other marching in the opposite direction. At
the other side it can double bade again ai*d tiras
"serpentine" as long as desired.

1) On the command the e^ltimn turag down center* The
first couple face each olfeer ? jofc 6piJ& ? &B<! fee others
pass uncter tfeeir |6iped hands. 44:000*1 as'Ute $eoj*d
eottpte'p$a$e& toite ttey too |^li| haiife Then, the
tfcirci '3p&eh eocip fe In fym> a&9M0 *& it passes under
last p&it ^ol.-fca^fe^'^te 1&&; txrtdge longer for
^p|. Wbjffft *$' ' have "passed

by the

^ now reformed,

and t& aeeond couple left
the opposite direction, so
either wall.

340 GRAND MARCH CHANGE

n) The couples come together at the foot of the hall, and
inarch four abreast up the middle, when they reach the
head the first four turn right and the second left, and
so on alternately, forming two columns of four each,
marching along the side walls. At the foot the fours
pivot and meet and march up the center eight abreast.

o) On the command they stop and each couple pivots in
place, the girl circling left around her man who turns
in position as a pivot and the new-formed lines of
eight now march back toward the foot of the hall.

p) Then on command they all remain facing toward the
foot of the hall and at the same time march backward
toward the head of the hall. Then the two ends of
each group of eight bend around together and they
make a ring of eight with hands joined, and all circle
to the left.

q) The first and second couple in each set face each
other (and at the same time the third and fourth do
the same) and pass through each other, each giving
the opposite person the right hand in passing, and
each couple joining left hands as soon as they have
passed through. Each man holding his lady's left
hand, puts his right hand behind her back, and turns
her leftabout-face around him. The two couples pass
back through each other, turn in the same way and are
again back where they were, facing each other.

r) The two men stand and send their ladies to the center
between them. The ladies take right hands and pass
each other, giving their left hands to the opposite
men. Each man takes the lady with his left hand, puts
his right behind her waist and pivoting, turns her
completely around him to the left and back towards
her own partner. As the ladies pass they again take
right hands and give their lefts to their partner?, who
pivot again and turn them to place.

s) Each couple BOW takes promenade position (hands
joined in front with partner) and marches to the
couples place (passing to the right gentlemen
left shoulder^) . They pivot Qimct Mt face

INSIDE ARCH

341

3. See page 154 for explanation or substitute any other end
ing given there.

Inside Arch

THE CALL:

1. All eight balance.
All eight swing,
A left allemande
And a right hand grand.
And promenade, oh, promenade.

ill eight balance.

342 INSIDE ARCH

2. a) First couple out to the couple on the right

With a four and a half.

b) 1. Inside arch and the outside under.

2. Inside arch and the outside under.

3. Inside arch and the outside under.

4. Inside arch and the outside under.

c) Now circle four with the odd couple oh,
Around and around and a docey-doe.

d) Now on to the next with a four and a half.

e) 1. Inside arch and outside under.

2. Inside arch and outside under.

3. Inside arch and outside under.

4. Inside arch and outside under.

3. Balance home and swing 'em all night,
Allemande left, go left and right.
Hand over hand around the ring,

Hand over hand with the dear little thing.

Meet your partner and promenade.

Repeat 2 and 3 for second, third, and fourth couples,
or substitute the next dance for second and fourth
couples "the length of the hall."

THE EXPLANATION:

1. See page 151 or substitute any other introduction given
there.

2. a) The first couple advances to the second couple. They

join hands and the four circle halfway round so that
the first couple stops with backs to the outside of the
set and the second couple with backs to the center of
the set.

b) 1. The second couple raises their arched arms and the
first couple, holding hands, passes under the arch.
The first couple continues across the set and raises
arched arms* and the fourth couple passes pi^der.
Tbe f ourtfe couple continues and arches, and the
(wfco fa^ve turned around j& the meantime)

and tlie first
to the

INSIDE ARCH AND OUTSIDE UNDER

343

(This leaves the second couple In the fourth couple's
place, and the fourth couple In the second couple's
place temporarily.)

c) The first couple now advances to the third (who have
stood inactive and unhappy until now) and joining
hands circles to the left with them. Then they do a
docey-doe (see page 160).

d) They now advance to the position of the fourth couple
(but the second couple is now standing in this posi
tion). They join hands and circle half around with
them as in (a). They then do exactly as they did in
(b 1, 2, 3, 4) , which puts the second and fourth couple
back in their own positions, and the first couple
in the center of the set. With a balance bow they
return to their place.

3, See page 154 for explanation or substitute any other end
ing given there.

Arch and Under for the Length of the Hall

(Continued)
THE CALL:

2. a) Second and fourth couples go out to the right

, And four hands full around.
b) Heads all arch and feet duck under,
GO, my boys, and go like thunder.
Keep on going till you reach the wall
Then turn right back and through 'em all

Inside areh and outside under for the length" of the hall.

344 ARCH AND UNDER

Now touch the wall at the other end

And turn back through till you're home again.

Duck and dive, duck and dive,

Pep up boys and act alive.

Duck and dive, duck and dive,

Regular old time cattle drive.

Duck and dive, duck and dive,

Some'll batch and some'll wive.

Duck and dive, duck and dive,

Cost a one spot, worth a five.

Duck and dive, duck and dive,

Keep on ducking 'til you arrive.

3. Now you're home and everybody swing.
A left allemande and a right hand grand.
And promenade.

Repeat 2 and 3 for fourth couple.

B

In calling the two preceding dances, it makes a nice
combination to let couple one do inside arch and outside
under within the set, then couples two and four do it for the
length of the hall, then couple three do it again within the
set.

You will note there is no introduction or Part 1 to this
call since it starts with couple number two and usually
follows some other figure (preferably the preceding dance)
done by the first couple.

This dance for the length of the hall is usually done, alas,
with only the second couple going out to the right and the
fourth couple remaining inactive. It was so given in the first
edition of this book, since I had seen it danced in no other
way. But this leads to inevitable collisions and disputes as to
who shall go over and who shall go under. The more com
plicated your traffic rules become the more insistent each
collider gets that he is right. At last the obvious dawns.
Twice as many couples are going one way as are iroinjg the
other, ^Hf timjfic rule can keep fiem oat of trouble.

If tlfie^l the second ftn4 fourth eonple^ txrtb. go tot to
the ri^'llty^ ;-wS|Jf $ J^fcty' i^tpte going ope way a$ the

We feead e^pfe arch over,

foot

ARCH AND UNDER

couple, arch under. Now by alternating over and under,
keeping the spacing even, and by careful timing, it all goes
as smoothly as clockwork, and is great fun.

THE EXPLANATION:

2. a) Second couple advances to third couple, joins hands,
and the four circle full around, so the second couple is
left toward the center of the set. At the same time
the fourth couple advance to the first couple, join
hands and they circle full around, leaving the fourth
couple toward the center of the set. All four couples
are in a line with all the other couples down the hall,
b) The first and second couples raise their arched hands
and the third and fourth couples make ready to pass
under. On the word GO they pass through and ad
vance right on toward the oncoming couples of the
next set. If they have just arched over, they now
duck under, then over with the next, then under, and
so on and on. In a few moments the whole line has
slipped into a continuous flow so that every couple
passes alternately over and under each other couple
coming from the opposite direction.

When a couple reaches the end of the hall they
turn (the couple pivoting) and accept the rhythm of
the oncoming couple. That is, they go either over or
under to accommodate the motion of the oncoming
couple. This puts them in the correct rhythm to pass
back the length of the hall alternately over and under.
Paeh ccmgfe moet co^ttiBue in the direction they
were facing at the time of the first over or umder.
They'iOTst eonrtfeue in tibis direction until they re^eh
the end of the iiaJL ; fjte they tirii around aiMi go
under in the opposite |!etfe!n to ihe other end of the
hall And tfeeit fley fate! a$d f eterfa to their original
places on the floor*

Fix to th$ iippd-of e^eh couple that they i$iist go
to both ends of tijie I&tttitii^ ret&zti to place before they
have done.

The $^ck-an4-$!ve patter, or something Ijtfce it can
be fceipt g&ibf |>y the ealler, or he ean settle doWn for
; & to^f^'fw^ 1 all .MiplfS are baclt in place. ,

S. See pe 1^1 for ^ptaation or substitute any other
there.

346

THREE LADIES CHANGE

Three Ladies Change

/

0-

THE CALL:

1. Honors right and honors left,

All join hands and circle to the left,
Break and siving and promenade back.

2. a) First couple out to the couple on the right

With a four hands full around.
b) The two ladies change,
Now three ladies change
On the longer track,
Three ladies change
Through the set and back.
The three gents stand
Like a rock in the s&a

Three ladies change.

THREE LADIES CHANGE 347

And wave them past

Till they've changed all three.

c) On to the next and circle four.

Two ladies change and change right back;

d) On to the next and
Four hands full around

Repeat (b) entire for fourth couple.

3. Now you're home and everybody swing,

Allemande left with your left hand.

Right hand to partner and right and left grand.

Then promenade, oh, promenade.

Repeat 2 and 3 for second, third, and fourth couples,
or substitute the dance on the next page for the
second and fourth couples.

THE EXPLANATION:

1. See page 148 for explanation or substitute any introduc
tion given there.

2. a) First couple advances to second couple, joins hands

with them and the four circle to the left one full time
around, so that the first couple is left again toward
the center of the set.

b) -The first and second ladies pass each other, taking
right hands. Each gives her left hand to the opposite
gentleman. The first lady is turned once around by the
second gentleman so she again faces the set. The
second lady gives her left hand to the first gentleman

Three ladies change the length of the halL

348 THREE LADIES CHANGE

who passes her to the other side of himself, where she
advances and gives her right hand to the fourth lady
who advances to meet her, then her left to the fourth
man. She turns around him and faces the set. The
first man takes the fourth lady and passes her on so
that she joins left hands with the oncoming first lady.
Each lady continues in this serpentine fashion from
one side of the set to the other and back to where
she started from, giving her right hand always to
ladies and her left hand to the gentlemen, encircling
both the fourth and second men and passing by the
first man (who stands in the center) with only a half
turn to the left for each lady.

The second and fourth man takes each lady as she
comes to him by the left hand, turns her out around
him and back into the set again. The first man, stand
ing in the center, keeps turning perpetually to his
left, taking a lady with his left haml from one side of
the set to the other with each half turn.

c) When all the ladies are back to their own partners
again, the first couple advances to the third couple,
wjio have stood inactive thus far. Ladies join right
hands and pass each other, then give their left hands
to the opposite men, who turn around with them and
send them again towards each other. Again they take
right hands and pass and each gives her left hand to
her partner, who with his right hand behind her back,
turns her around to place.

d) The first couple then advances to the fourth couple
an4 does with them exactly as they did with the
second couple in section (b). The three ladies take
the serpentine route around the men until each comes
back to her own partner.

3. See page 152 or substitute any other ending given there.

POUR LADIES CHANGE THE LENGTH OP THE HALL 349

Four Ladies Change the Length of the Hall

(Continued)

(Can be substituted for the second and fourth couples Instead of
the simpler form in the preceding dance, provided there are two or
more sets in a row down the center of the hall.)

THE CALL:

2. a) The second and fourth couples

Go out to the right
With four hands full around.
b) The two ladies change,
The three ladies change
To the walls and back,
All ladies change on this longer track.
Keep on changing till you reach a wall
You're just half through, that isn't all
Turn right back and keep on trotting,
Keep on changing to the other wall
Now back to your partner if he ain't forgotten.

3. Now you're home and everybody swing,
Allemande ho t

Right hand up and here we go!
Now promenade.

Repeat 2 and 3 for fourth couple.

If the sets are arranged the length of the hall it Is best
to give the simpler dance (see page 346) for couple number
one, and keep them changing within the set. Then call the
dance given above for couples two and four, sending the
several sets the length of the hall. Then repeat the simple
dance for the third couple.

THE EXPLANATION:

2. a) Second couple in ^ach s^t advances to the third couple,
joins hands with them and circle to the left once
aratad is0 fb$t the second couple is ^gain toward the
set. } At the same time the fourth couple
If tlm $r$i eopple and do0s the same with
couple in line toward the
te of

350 FOUR LADIES CHANGE THE LENGTH OF THE HALL

b) The second and third ladies advance to each other,
take right hands, pass by each other, and give their left
hands to the left hands of the opposite gentlemen.
Each gentleman turns half around with the lady so
that she continues in the same direction toward the
next man, even though he is in the next set. She
takes alternately a lady with the right hand, then a
man with the left, and continues thus until she reaches
the wall at the end of the hall, having passed through
all the sets. Here the last man turns her around and
sends her back through the line again.

Each man takes a lady coming one direction with
his left hand, makes a half turn with her, sending her
on in the same direction, and then takes a lady coming
from the other direction and gives her a half turn.
This makes him turn continuously to the left.

The two men at the extreme ends of the hall each
take an oncoming lady, and turn her completely
around themselves and back into the line again. The
end gentlemen make a full turn each time (but only
half as often as the line men) and always turn to their
left.

Each lady must go to each end of the hall and be
turned back by both of these end men before returning
to her partner to stop at the end of the figure.

3. See page 153 for explanation or substitute any other end
ing given there.

If there are enough sets on the floor, this same dance
through all the crosswise sets can be done, jut as described
above for the lengthwise.

RIGHT AND LEFT THROUGH THE LENGTH OF HALL 351

Right and Left Through the Length of

the Hall

THE CALL:

1. All eight balance.
All eight swing,
A left allemande f

And a right hand grand,
Meet your partner
And promenade.

2. a) First and third couple

Forward and back.

b) Now right and left through the length of the hall.
And the sides the same.

Now right and left back to the other wall.
And the sides keep shuttling back and forth,
Going east and west through their south and north.

c) Keep on shuttling till you get back home,

3. Now swing, swing, and everybody swing.
Allemande left ivith your left hand,

Right to your partner and right and left grand.
Promenade eight when you come straight.

This call can be repeated with some modification for the
second and fourth couples. It would begin :

Eight <&nd left the length of the halL

352 RIGHT AND LEFT THROUGH THE LENGTH OF HALL

a) Second and fourth couples
Forward and back

b) Now right and left through the width of the hall
And the ends the same, etc.

THE EXPLANATION:

1. See page 151 for explanation or substitute any introduc
tion given there.

2. a) First and third couples advance four steps toward

each other, then fall back four steps to places.

b) The first and third couples advance to each other and
each person takes the opposite by the right hand and
passes beyond him or her. (This means you must pass
your opposite to the left.) As soon as the two couples
pass through each other in this way, partners take
each other by the left hand, and advance toward the
oncoming couple from the next set.

As soon as the first and third couples pass through
each other, the second and fourth couples pass through
each other in the same way, but crosswise of the hall.
The first and third couples of each set keep going
in the same manner until each couple has been to both
end walls and is back in place again. Taking the on
coming couples by the right hands and joining left
hands with your partner after passing each couple
gives rise to a peculiar action which is soon naturally
and effectively exaggerated into a swing of the right
hands back and up over the shoulder in a long sweep
ing curve, timing so they meet the next couple just
right.

When a couple reaches the end or side of the hall,
map stands as a pivot aad swings htfe lady around
in a left tern and them tifeey xetttni dow^i the liqe.
itf otirtli eo^pftw grata* tart taefc in

<j) : #
Iff

walls, soft |he wlnbite ciasfe

RIGHT AND LEFT THROUGH THE LENGTH OF HALL 353

and fascinating. Four sets arranged in a square work
out perfectly and symmetrically; but if the arrange
ment of sets is longer one way than the other, and
uneven, when one pair of couples gets back home the
other pair in that set may be wandering almost any
where on the floor. In this case the first pair of
couples back home have to shuttle back and forth
within the set until their two neighbor couples are
back home also.

3. See page 152 for explanation or substitute any other
ending.

COMBINATION:

For a complex and delightful combination of intermingl
ing dances (especially fine for exhibitions) the Grand March
Change can be called for the first couple, the Arch and
Under the Length of the Hall for the second and fourth
couples, then the Right and Left Through the Length of the
Hall for the first and third couples and finally the Four
Ladies Change for the Length of the Hall. By this time they
will all know they have been some place, but they will feel
quite triumphant and proud.

Original
Dances

To keep this art vital, each caller must invent a few dances of
his own. The following dances of my own invention, are
included, not for their excellence but as a challenge
for other callers to do better. The first and
fourth use familiar figures in a new pat
tern, the second and third are built
upon figures derived from
European folk dances.

356 FORWARD AND BACK EIGHT

Forward and Back Eight

THE CALL:

1. All eight balance, all eight siving,
A left allemande and a right and

left grand.
And promenade, oh, promenade!

2. a) First and third couples for

ward and back,

b) Forward again and right and

left through,

The ladies cross left and the
gents cross right

c) And between side couples remain.

d) Forward eight and fall back eight,
Pass right through, don't hesitate.
Forward eight and fall back eight,
Pass right back and don't be late.

e) Same two couples forward and back,
Forivard again and circle four.

f ) Docey-doe with the gent you know
The lady goes C and the gent goes doe.

Forward eiffkt and full back eiffhL

FORWARD AND BACK EIGHT 357

3. Balance home and everybody swing,
Now allemande left with your left hand,
Right to your partner and right and left grand,
Promenade eight when you come straight.

Repeat 2 and 3 for second, third, and fourth couples.

THE EXPLANATION:

1. See page 151 for explanation or substitute any introduc
tion given there.

2. a) The first and third couples advance four steps toward

each other and then fall back to place.

b) They advance again and each person takes the oppo
site by the right hand as the two couples pass
through each other (they thus pass to the left of the

. opposite). As soon as they have passed, each gentle
man takes his lady by the left hand with his left and
passes her across in front of him. She continues
around the set to the left and behind the side man,
while the gentlemen turn right and pass around and
behind the side ladies.

c) The side couples separate so they can come in and
stand in line between them. The first gentleman and
the third lady are between the second couple ; aftd the
first lady and the third gentleman are between the
fourth couple, arranged in a line of four, alternately
men and ladies.

d) The two lines of four advance toward each other and
fall back to place. Then they advance and pass
through to the opposite four's place (passing to the
left) They advance ai$d fall back again and then pass
baqi to their own places.

e) The first and second couples (now temporarily sepa
rated) advance toward each other and fall back. Then
they advance and join hands in a circle four. This puts
$acb lady on tfe$ r%ht side of her own partner.

) They do a (jiQcey^e in the regular way (see page
160).

& See p4ge 1$2 for ^pteation or substitute any other end-

358

DOUBLE BOW KNOT

Double Bow Knot

/;

n < u

FORMATION
THE CALL:

1. All jump up and never come down,

Grab your honey in your arms and swing her around,
'Til the hollow of your foot makes a hole in the ground.
And promenade, oh, promenade.

Tie 'em up in a double bow knot.

.DOUBLE BOW KNOT 359

2. a) First and third ladies out to the right,

Circle three and get it hot,

b) And tie 'em all up in a double boiv knot.

c) At the head and feet the side gals meet
And circle three and keep 'em hot.
Tie 'em all up in a double bow knot.

d) Now divide to either side

And circle three and keep 'em hot.
Tie 'em all up in a double bow knot.

e) Noiv the head and the feet
With the side gals meet.

And circle three and keep 'em hot,
And tie 'em all up in a double boiv knot.

f ) Side gals trot home and everybody swing.

3. Now allemande left with your left hand f

Right hand to partner and right and left grand.
Promenade eight when you come straight.

Repeat 2 and 3 for the second and fourth ladies.

This dance is adapted from the old Danish dance, "The
Crested Hen."

THE EXPLANATION:

1. See page 149 for explanation or substitute any introduc
tion given there.

2. a) The first lady and third lady each leaves her partner

and advances to the side couple on her right. She
joins hands with them and the three circle to the left
with a strenuous skipping step.

b) The two ladies of each three let go each other's hands
and the gentlemen are left in the middle with a lady on
either band. Each gentleman swings the right hand
lady tinder M$ !$ft arm without letting go the left
hamc! lady. As she passes under, Ihie follows in under
his owi| left anon, and the left hand lady at the same
f wift 1*11*1 in under her right arm (that is,
u*$t a;4l*hjr*$f*): As they straighten out he
tlte MtMbk*B$ 'IWty under bis right arm and
'ttftcl tlte rigM-haiid My follow under in another

the rigW-hand lady, under

360 DOUBLE BOW KNOT

his left arm and turns a dishrag with the left lady
and a second time turns the left lady under his right
arm and turns a dishrag with the right lady. The
grip or hand hold is never changed with either lady
during any of the turning. Please be careful always
to send the right hand lady through first. Sometimes,
with beginners, both ladies try to go under at the
same time and a painful collision results. The whole
action is so strenuous, with a fast skipping step, that
it is easy to "knock the ladies out" if they bump heads.

c) The first and third ladies each continue around the set
to the right. At the same time the side ladies go to the
left ; that is, the first and fourth ladies go to the third
gentleman and the third and second ladies to the first
gentleman. Each group joins hands and the three's
circle to the left. They then do the double bow knot
as in (b).

d) Now the ladies divide and go to the side gentlemen,
the first and third ladies continuing to the right and
the second and fourth ladies to the left. This puts
the first and second ladies with the fourth gentleman
and the third and fourth ladies with the second gen
tleman. The three's circle again and do the double bow
knot as in (b).

e) The head ladies continue to the right and the side
ladies to the left so that the first and fourth ladies
meet with the first gentleman and the second and
third ladies with the third gentleman. Each three
circles and does the double bow knot.

f ) The first and third ladies each stay with their own
partners while the second and fourth ladies continue
left and thus go back to their partners. And every
body swings.

3. See page 152 for explanation or substitute any other end
ing given there.

& B tt

The head, or active, ladies circle always to the right and
the side, or theoretically inactive, ladies to the left, the head
ladies Beginning the dance and the side ladies ending it. The
four gentlemen stay in position waiting for each pair of
laides to come to thena* Ii^ the repetition the side ladies are
active and go to the pgM, while the $nd ladies go to the left.

DIVE AND RESCUE THE LADY

Dive and Rescue the Lady

361

AND

T-fle LADY
THE CALL:

1. Honors right and honors left,

All join hands and circle to the left,
Break and swing and promenade back.

2. a) First and third gents lead out to the right,
b) Dive right in and rescue the lady,

Dive again and pull out the gent.

rescue the

362 DIVE AND RESCUE THE LADY

c) At the head and feet with the side gents meet.
Dive right in and rescue the lady,

Dive again and pull out the gent.

d) Now divide to either side,

And dive right in and rescue the lady,
Dive again and rescue the gent.

e) At the head and feet ivith the side gents meet,
And dive right in and rescue the lady,

Dive again and rescue the gent.
f ) Side gents trot home and everybody swing.

3. Swing your opposite across the hall,
Noiv the lady on your right,
Noiv your opposite across the hall,
Now your own and promenade all!

Repeat 2 and 3 for the second and fourth gentlemen.

THE EXPLANATION:

1. See page 148 for explanation or substitute any introduc
tion given there.

2. a) The first and third gentlemen each swing their part

ners and advance to the couple on their right. The
three's take hands and swing them high together in
the center of each three.

b) They still hold hands and swing their, arms back so
as to separate as far as possible. The first and third
gentlemen each pass under the arms of the couple
they are with. In each set of three the gentlemen now
turn outward under their own joined hands in a dish-
rag and then pull the lady backward under their
joined hands, so that all three are in a circle facing
each other again. They swing their fi&nd^ up and
high together then back and apart an^t the first and
third gentlemen again dive radff .&e avxos of the
couple they are ^ith, They mow ^ro %^;|o b&cjs:
the laciy and with her turn a ^fi'ii^fe' their

: TJie ait!
atid l 1tie : &^
first anf ' ffee

DIVE AND RESCUE THE LADY 363

lady and the third and second gentlemen with the
first lady. They swing arms up and together, separate,
and the first and third gentlemen dive again as in (b) .

d) The head gentlemen continue to the right and the
side gentlemen to the left so the first and second
gentlemen join with the fourth lady and third and
fourth gentlemen join with the second lady. They
repeat (b) the first and third gentlemen still doing
the "diving."

e) The heads continue right and the sides left so the first
and fourth gentlemen join the first lady and the third
and second gentlemen join the third lady. Then re
peat (b) the first and third gentlemen doing the
"diving."

f ) The second and fourth gentlemen go back to their part
ners and everybody swings.

3. See page 155 for explanation or substitute any other end
ing given there.

The first and third gentlemen always progress to the
right and the second and fourth to the left. And the first
and third gentlemen, being active, always do the "diving and
rescuing/' In the repetition of the dance the second and
fourth go right and do the diving, the first and third circle
to the left.

364 FOUE GENTS CROSS RIGHT HANDS

Four Gents Cross Right Hands

THE CALL:
1.

0...

All eight balance,

All eight swing,

A left allemande

And a right hand grand,

And promenade, oh, promenade.

2. a) Four gents cross right hands,

Circle to your partners.

b) Turn 'em with your left hands
One time around.

c) Double on the right whirl;

d) Back to your partners.

e) All run away

With the corner girl.

Repeat 2 three more times until each man gets his
own partner again.

3, Now you're home and swing 'em all night.
Allemande left, go left and right.

Hand over hand around the ring;
Hand over hand with a dear little thing.
Promenade, oh, promenade!

Four gents

right hands.

FOUR GENTS CROSS RIGHT HANDS 365

THE EXPLANATION:

1. See page 151 for explanation or substitute any introduc
tion given there.

2. a) The four gentlemen advance to the center and join

right hands in a star. They circle to the left until
they face their partners when they let go each other
and return to them.

b) Each gentleman joins left hands with his partner and
circles once around with her.

c) He returns to the center and again joins right hands
with the other gentlemen and circles around to his
partner.

d) He joins left hands with partner and circles once more
around with her, and continues on beyond her

e) To the corner girl, with whom he takes the promenade
hold and promenades with her back to his place.

3. See page 154 for explanation or substitute any other end
ing given there.

r

V.

Glossary

Allemande left the gentleman takes the left hand of the lady on his
left with his left hand and walks once around her as she walks
around him. Each returns to place. Usually followed by grand
right and left.

Allemande left just one the same but not followed by the usual grand
right and left. Each goes back to his own place, ready for next call.

Allemande right very uncommon, and usually follows an allemande
left. Each dancer turns partner around by the right hand, and
back to place.

Arch a couple joins inside or near hands and raises them high for
another couple to pass under.

Balance can be done with anyone according to direction but usually
with partner, in which case each steps back from the other four
steps, drops into a slight curtsy, and then steps forward four steps
together again. Sometimes it is done with only two steps back and
forward.

Balance home as usually danced, it apparently means for a couple
to return to their home position, but to be correct they should
balance to each other when they get home, and at the same time
the three other couples should balance.

Balance-swing after balancing to each other, the couple takes regular
dance position,, the lady's right hand in gentleman's extended left
hand, her left hand on his right shoulder, and his right arm around
her waist. They should stand a little off center, or sideways, right
hip touching right hip, and swing rapidly around in place with walk
ing step 3 so Quick and vigorous as to be aware of considerable cen
trifugal f o?ce or swing. The rotation is rifht-face or clockwise.
Most balances are conduct with this swing.

in G& ,04#$r7<a girt tp be alone in a cprcfe $r ring o darners who
' e*tc& others' fewMte* l^tey usually circle clockwise, while she

&wa|r fSrora each other, usually

let f

or ItoUs.

368 GLOSSARY

Change a) complete call for one square dance,
b) to exchange partners.

Circle four two couples face each other, join hands and circle to the
left, or clockwise.

Circle eight four couples face center of square, join hands, and circle
to the left, or clockwise.

Circle left a group holding hands circles clockwise.

Circle right the same except to circle counterclockwise.

Close to bring one foot to the side of the other.

Come straight when you come to, or meet your partner, in a grand
right and left.

Corner in any square the dancer next to you who is not your partner
(see next definition).

Corner lady (or girl) the lady standing to the gentleman's left in the
square.

Corner man the gentleman standing to the lady's right in a square.

Cut away usually used with a number such as six, four, or two. To
cut away six is to pass through opposite couple, separate from
your partner, and each circle around their half of the remaining
six, lady to right and gentleman to left. To cut away four sepa
rate from your lady and each pass around the couple on either side
or four in all. To cut away two separate, and each pass around
corner, which is one on each side or two.

Dance position regular ballroom position lady and gentleman stand
face to face, with the lady's right hand in the gentleman's extended
left hand and her left hand on his right shoulder or upper arm.
His right arm encircles her, and his right hand should be held
about at her left shoulder blade though it is usually and incorrectly
lower or farther around.

Dip the first or introductory step on the first bar of the waltz. The
gentleman rocks back on his left foot with his other foot lifted in
the air in front while the lady rocks forward on her right foot and
holds her other foot free of the floor behind her. The count is step
one, rise on toes, two, fall to heel, three (all done on one foot) . On
the next bar go directly into regular waltz starting with the foot
which has been held in the air during first bar.

Divide the ring a couple crosses square to opposite couple and passes
between them.

Docey-doe executed while two couples (with each lady on the right
of her gentleman) hold hands in a circle of four. Each gentleman
passes his lady's left hand from hi$ right hand to- his left, and
she passes between the opposite couple in making this change. He
now passes ter befeind Mm around his left side, lets go her liantf,
and glill f aeiug' the ofypo^ite gentleman reaches with his right hand
far the opposite Ia4y wha is now coming arot|nt4 f r/om belimd the
opposite geutleiEiaii. He tura$ her awand betond! hto on Ms right
sMe at^fce-a^s ^it$t. hi& left towf for fefe .oyw-p, pa^ti^jr who Jw
gone arotmfl ffe , 'offifce ^geatle^p a$*4 ia ^o* fowmg ftrom
ind him> B&.ppt^ '

to posiffc^ ->(%e j

GLOSSARY 369

Docey corners to dos-a~dos or pass back to back with the corner or

left hand lady.
Dos-a-dos to pass back to back with a person. Advance to this per

son and pass to the left (that is, pass right shoulder to right

shoulder) , step to the right so you are both back to back, and with

out changing the direction in which you face, encircle him and back

up to your own position. See page 106.

Do-si-do the same as docey-doe and it is the more usual spelling.
Double elbow a more complicated right and left grand, hooking el

bows and turning instead of merely taking hands and passing. As

the gentleman meets each lady he hooks right elbows with her and

turns for four counts, then reverses and hooks left elbows with her

and turns for four counts. He then advances to the next lady and

does the same with her, and so on around the set. See page 157.
Eight hands round eight persons join hands in a circle.
Ends first and third couples in a set.
Feet the foot couple or third couple. If the second couple is active

the fourth couple becomes foot couple.
Figure eight to pass between two persons (or two couples) encircle

one of them, pass through again and encircle the other, in a path

which resembles the figure eight.

First couple the couple standing nearest the head of the hall.
Five hands round five persons join hands in a circle.
Foot or foot couple the third couple, or the couple opposite the active

couple.
Forward awd back advance four counts and return backwards four

counts to place.
Forward two, three, four t six, etc. as many persons as designated

advance four counts.
Four and a half or
Four hands half two couples join hands in a circle of four and turn

to the left until they have exchanged places, that is, a circle of four

makes a half turn.
FOUT hand mill four persons join right hands shoulder high and pivot

clockwise around their joined hands, or join left hands if so

directed and circle in the opposite direction.

hands full around two couples' join hands in a ring and circle

to the left onoe around $o each couple is in same position from

which they stared circling.

h&nd$ faxlf-r&& fmr o$ & ka4/ above*

hwn&s r<nw$^4wo mti^lea Wfce hands in a ring and circle to the

let^unta next <feeetioto is giv^t, u^tiaiy 'followed by a dooeyrdoe.

Four *kw%d ^f-r-the sapi$ as

iteft ol fee $ rst couple and opposite

round wifctx joined
a ^circle of four, or includes
of s% etc. ^

370 GLOSSARY

Gent goes wrong the gentleman turns to the left when his lady is
directed to turn to the right.

Grand right and left each couple in a square join right hands and
pass each other, so that the ladies advance clockwise and the gen
tlemen advance counterclockwise. Each gentleman touches left
hands with the next lady and passes on beyond her while she con
tinues in the opposite direction; he then touches right hands with
the next lady and they pass each other. Then he touches left hands
with the next and passes her. This brings him to his own lady,
with whom he joins right hands, and turns to the promenade posi
tion at his side. See page 51.

Grand circle each gentleman takes his lady to the edge of the hall,
and puts her on his right hand and faces center. All couples join
hands in one large circle, and all facing center.

Hand over hand same as right and left grand.

Hands round used with any number such as six hands round, means
for six people to join hands in a ring and circle clockwise.

Head the first or head couple.

Head of the hall the end of the hall which is designated by the caller
as the head, usually the end nearest the piano.

Home the original position of each couple in a square, and to which
they return after any maneuver.

Honors all All gentlemen bow to their partners.

Honors left each gentleman bows to the lady on his left.

Honors right each gentleman bows to the lady on his right who is,
of course, his partner.

Inside ring the path a couple follows when they promenade around
the set inside the other three couples.

Join hands or join paddies usually when all four couples of a set
join hands in a ring although smaller rings are sometimes formed.

Ladies' chain two couples face each other. The two ladies advance,
join right hands, and pass each other. Each lady gives her left hand
to the opposite gentleman and he pivots with her, turning her com
pletely around. Each lady advances and again joins right hands
with the other lady and passes her. She then gives her left hand
to her partner's left, and he pivots and turns her around to place.
See page 132.

Ladies' doe often only the preliminary phrase of a docey-doe and
ignored by the dancers, but more correctly it should precede a
doeey-doe, by the two ladies encircling each other with a dos-a-do$,
followed by the two gentlemen doing the same, usually to the call
gmt$ y,fm know. Then the docey-doe is done.

Lewd Mifcr-HaetvaBoe to wherever directed.

Left faeer^to fttwt and lacB to ytmr own left

Odd co^f^- % wly Itoe^iw couple in a get, ag* wto t&e first cwij>ie
is doing; a cliapge with th second and fourth c^iplte at %e same
time, the fkW QOttpitoffe feft as ai* <$<!<J or ia?**!*} iffe.

One and % h^^'^r^ ^t^^^4^m'^^^^^ <QFB, ach
gentleman htx>Mn^ xfejfa ^Ife^wi^ Ms Btttr.*md: 4Mb* oee

GLOSSARY 371

full turn around her and back to his place, continuing a half turn,
releasing and going on to the next lady. He hooks left elbows with
her, turns once and a half around and on to the next, alternately
hooking right or left elbow with each lady he meets. See page 158.

One hand turn taking a lady by one hand (her right in your right or
vice- versa) and turning her around.

Opposite when two couples face each other the opposite for each
gentleman is the other gentleman's partner, the opposite for each
lady the other lady's partner.

Opposite couple the couple directly across the set from you,

Outside rw# the path taken by a single couple when they promenade
around the outside of the other three couples in the set.

Pokey cowboy pronunciation of polka.

Promenadeto march in couples with the lady on the gentleman's
right and their arms crossed and hands clasped in front of them, the
lady's right hand in the gentleman's right and her left hand in his
left hand. His right arm should be crossed over or in front of her
left arm.

Promenade eight the four couples of a square promenade counter
clockwise around the set and back to their own positions.

Right face to pivot and face to your right.

Right and left two couples pass through each other (ladies to the
inside) each gentleman taking right hands with the opposite lady
as he passes her, and taking his partner's left hand in his left as
soon as they have passed through. Usually he makes a left pivot,
turning her around with him until the two couples face each other.
They now pass back in the same manner, pivot to the left, and face
each other in their original positions. Sometimes done without
touching hands in passing. And sometimes done without pivoting,
but passing directly on to the next oncoming couple. See page 128.

Salute to make a deep bow to your partner or to the lady directed.

Salute your company all four gentlemen in a set simultaneously bow
to their own partners.

Sashay to slide to the side with a step close step close step!
Second couple the couple to the right of the first couple in a set.
Set four couples facing each other in a square formation. See page

5$.
Seven hands r<wm seven persons join hands in a ring, all facing to

the center, and circle to the left
Sid&$ the second and fourth
Side couples th& same as $ide$.

fmnd$ rww- ^foc jmrsws joifc teids in a ring, facing center, and
circle to the left.

th$ nw~^a dtipk a^lvawes aeross a set ? passes between the
p09fte c^fle^ gta Wy m^mally turns to her right and the gentle-
WTO to M& feft, Tlae^r g$' arocri^J the outside of the set, and meet

4*fc

372 GLOSSARY

Step close to step with one foot and close the other foot to the side
of it.

Swing to take a slightly modified dance position and circle round
each other in place, that is, stand face to face with your partner, the
gentleman extends his left arm and supports the lady's right hand
in his left hand. She places her left hand on his right shoulder or
upper arm, and his right arm partly encircles her waist. They
usually stand a little off center so their right hips almost touch
each other. Then with a light walking step they circle around each
other in place, going in a clockwise direction, and usually making
two complete circles around each other.

They may also swing around each other holding single hands,
both hands, or hooking elbows when so directed.

Three hands round three persons join hands in a ring facing inward,
and circle to the left.

Third couple the couple opposite the first couple.

Tip usually when the sets are called out on the floor for a square
dance, two complete changes or dances are called, with a slight
pause between them. They are called the first tip and the second tip.

Trot 'em home promenade back to original positions.

Turn right back in the grand right and left when the gentlemen meet
their own partners each takes his partner by the right hand and
completely encircles her so that he is facing the opposite direction.
The grand right and left is now repeated in the opposite direction,
the gentlemen now circling clockwise while the ladies circle
counterclockwise.

if Cowboy Dance

\ Tunes

arranged by
FREDERICK KNORR

Table

of
Contents

6/8 RHYTHM

Page

Honest John 378

Irish Washerwoman ....378

Chichester 379

Captain Jinks ., 379

Ocean Waves 380

2/4 AND 4/4 RHYTHM

I Wonder 380

Johnny's Down the

River 381

Romping Molly 381

Buffalo Gals .....382

The Girl I Left

Behind Me 382

Golden Slippers 38S

Soldier's Joy .._ 383

Nellie Ely ,.384

Kingdom Come 384

Whoa Ho Dobbin
Four and Tvratity
Cowboy and

FIDDLE TUNES

Page

Hen and Chickens 386

Waggoner 387

Durang 387

Hull's Victory 388

Pigtown Hoe Down 388

Lamp Lighter 389

Turkey in the Straw 389

Arkansas Traveler 390

Devil's Dream 390

Four White Horses 391

White Cockade 391

SPECIAL DANCES

Cheyenne Varsou-

vianna _, 392

Schottisehe ...*...,- ,.,.393

Pop Goe$ the WeaseL._393

So-So Polka

Rye

Foreword

T71REDERICK KNORR is a cellist in the Denver Symphony
J? and a thorough musician. Because of an instinctive love
of the virile homely strength of the old dance music, he has
taken a genuine interest in our cowboy dancing. Whenever
he can get away, he "sets in" with my dance orchestra and
strums with it on his guitar or banjo. He is so fascinated
with these old dances that for several summers he has
played with us for our engagements at Central City, and
last fall took the trip with our dance troupe to California
as strummer in our little orchestra.

When I asked him to record some of the tunes for me
and to make a simple arrangement for those who wanted
music to accompany my book Coivboy Dances, he was de
lighted. He sorted over hundreds of tunes and finally made
the following selection as most typical and most interesting.

He has scored them as very simple piano arrangements
expecting the "fiddler" to play the "top line" or melody.
Each pianist uses his own interpretation and is expected to
fill out, elaborate, and vary these arrangements however he
pleases. And the real "fiddler," of course, takes all the liber
ties and adds all the flourishes that his ear may dictate. To
help the "strummer," Mr. Knorr has indicated the chord to
be played by a letter designation. From this simple frame
work, your dFchesfet is expected to work out its own best
arrangement.

You will irfice that mmi of the pieces are in simple
keys wh*S $wrp&. Most pianists may prefer flats, but "fid-
dtort" and '^frumwers^ Want the sharps, and so you will
find mart of <&** oWHtfeflte itaisie sharpened to their taste,

Hit toy; in a hundred piece*.
' ; t*i4 certain keys that are e^sy for their

FOREWORD

voices to chord to. A good caller often asks his orchestra to
shift a key up or down a little so that his chording chant will
fit more easily into his natural voice range. Rather instinc
tively, a caller pitches his voice on an element of the major
chord of the key being played, usually the dominant. Some
times he chants on the third, occasionally on the tonic itself.
He may vary back and forth from one element of the chord
to another. But usually he prefers a key that lets him chant
his call on the dominant without straining his voice.

Mr. Knorr has arranged his tunes in four groups and
suggested that I say a word about each group. In the first
group he has tunes in 6/8 rhythm. Many old fiddlers prefer
the 6/8 rhythm, but they have to be watched or they will
get into such a slow rocking-horse monotony that the dance
becomes no fun. In a smooth 6/8 such as "Ocean Wave,"
the dancers, who step only on the first and fourth beat of
each measure, slow the dance down, and if the dancers are
young they instinctively have to put in little wiggles or
jiggles to keep themselves amused between the slow steps,
and that is not so good. However, if the 6/8 melody is faster
and sort of spills over itself like running water as in the
"Irish Washerwoman" the dancers achieve a quick step
and a snappy dance. "Honest John" is a fine tune to dance to.
It is speedy enough to establish the quick step, and smooth
enough to carry the dancers quite away with it. "Chichester"
is a good original tune made up by one of my favorite fid
dlers, Ben Chichester.

Six-eight rhythm is sometimes not quite so easy to "call
to." A good caller instinctively times his call to counts of
four. Regardless of delays caused by backward sets (which
never let him call twice alike with any music) he always
starts a phrase on a strong beat and builds his phrases on
patterns of four. This somehow is often easier to do with
the speedier 2/4 or 4/4 time*

The BecoiKl group of tunes given here are in 2/4 or 4/4
rhythm. Nances are always a question. Take the first one,
our regular fiddler "Nick" Nichols often plays it, but he
doesn't faiow where he pieced it up. So when ^e a$k him
the nauae ip says, '$ Wonder/* The last fw turns in this
group are Mr, Itnorr^ owipu We have playo} tfawoi and liked
them and jMfted 1$ > induce them '

The
Made by

FOREWORD 377

melody isn't difficult for any good fiddler. But when a pian
ist tries to play that same racing melody in good quick tempo,
it is not many repetitions until the muscles in the forearm
begin to knot and the pianist can hardly go on. These melo
dies are very difficult and tiring for a pianist. Some of them
are simple enough but do not "lay under the hand" right.
So usually the pianist just chords and "plays around" with
them, while the fiddler carries the melody at a furious and
untiring pace. Amateur pianists had better leave them alone.

And your old-time fiddler will probably say that isn't
the way he plays it. Surprising how these standard tunes,
transmitted from ear to ear, are each played as individual
and personal arrangements. Sometimes, a tune varies so
much under the fingers of different fiddlers that you can
hardly recognize it as being the same tune. And always,
somehow, any good fiddler's tune has a personal magic in it,
that can't be put down on paper in eighth and sixteenth
notes.

The last selection is a group of special tunes mostly for the
round dances described in my book. I have suggested there
a single album of old-time dance music, and for each round
dance have described just how much of each tune we usu
ally hear in the West, and just how it is played. And so in
stead of repeating these tunes here, Mr. Knorr has given us
some variations. He has given us his own arrangement of
the Varsouvianna, built from the many Varsouvianna tunes
he has heard, and putting in as many phrases of his own as
he liked and writing a new waltz for it. It is a good tune
to dance to. The Schottische is his arrangement taken from
an old clog over a hundred years old The simple little
polka is his own and is typical of this style of dance. There
are a hundred other polka tunes extant for you to choose
from. He Jias arranged the Rye Waltz as it is played here
in the Wt&t and as I have described it And because so many
orch^tr disagree on <^orcling "Bop Goes the Weasel," he
has given an arrangement of ttiis.

The ol4-tita$ $a?ie tpw are infinite in number- We
hope feit^ trill serve your pur

pose and $4ct fe yotp jo# IB powfeoy aancing.

LJJOYB SHAW

378

Honest John

G

I

Irish Washerwoman

itftag

Chichester

D*L

879

Captain Jinks

380

Ocean Waves

A7

I Wonder

i

.A7

D

D D

m

^FhP

rfrii-rrr|r T ffi]

ii

W|^i >l',^ J-

Johnnys Down the River 381

t

A? , D , jtf D

G

D D

I

i

uri

Romping Molly

i

P

f

..

382

Buffalo Gals

The Girl I Left Behind Me

Golden Slippers

383

D

Soldier's Joy

384

Nellie Bly

Kingdom Come

Whoa Ho Dobbin

385

Pom* and Twenty

* + '

m

C C

i

c

t'

i

386 Cowboy and Indians

C D?" G D

A Hen and Chickens

pizz pizz
f k arco ar

i

pizz pizz
'-arco-haico

Waggoner

387

ill

Pif

G

Durang

A?

ft*

ft*

D

&g

388

Hull's Victory

A? D D

A -,,r>i/h.l, A

) D ^ G

tJ ir,rrfrrripJ3

R

Ehii.

i

A7 D

i

Pig-town Hoe Down

Lamp Lighter

389

G

i

ill

*fe

B7 G

_G E7 Aim

s

G E? Ami D7 G

G

Turkey in the Straw

390 Arkansas Traveler

C G P A^ Q

a j j jjj j

Devil's Dream

fe

a o

5-prj-B

. i p<

Idl

8 J

Four White Horses

391

E? ^ A

-u Tii*.

Bmt K?L A

*

M

M

-^-

AJ.

CJI TJ

&JH+e

White Cockade

M

i

Cheyenne Varsouvianna

A?

i

PP

112

-9

D

Hjfflj

i

lift |

W* J

i .

J r

Ml

Schottische

0_. A?

.

n f f J f

*

Pop Goes the Weasel

So-So Polka

Rye Waltz

G

G G

f

r

G

Gl G7

r

t&3j&

Phonograph
Records

A N ORCHESTRA or at least a piano is necessary for really
-** satisfactory dancing. But some groups find it impossible
to get competent musicians and they find that they have to
use phonograph records in order to dance at all. Records are
never satisfactory for a big first-class dance, but they can
be used for small groups and for practice sessions.

A few years ago practically the only albums available
were of Eastern Singing Quadrilles. Fine as they were, they
didn't help too much with this type of book, which deals
mostly with Western "patter" dances. But we have been
fortunate in the last few years in that many new albums
of Western dancing have appeared on the market. In fact,
they are coming out so rapidly that it is almost impossible
to keep any list up to date.

Some dancers prefer the twelve-inch records because
they play longer and do not have to be turned over so often
in the dance. Others prefer the te^i^ch records because
they say they are easier to transport tod are a little less
liable to break. You mnst naake yotyr choice. A chief de
termining factor in your choice will be the sp^ed of the
record. We have arranged the albums in the following list
more or less according to speed, from the faster to, the
slower. ,-,

The speed of each al^tim is indicated by metronome
ngs, M.MT to . For all practical ^purposes this can
for yot| "tfeps- per minute."

t&nd to be slow from 106 to 124 steps

396 PHONOGRAPH RECORDS

Texas albums (because they use a special dipping two-
step) tend to range from 126 to 130.

Cowboy dances of the North, with their quick shuffling
glide, tend to be faster, from 134 to 144. (I personally feel
that about 136 is nearly right.)

Exhibition dancing often speeds up to 146 to 156.

Kentucky Running Sets may be very fast, from 160 to
180.

Pick your own speed. You will find it not only depends
upon your style but that it will also tend to determine your
style.

Caution. Make sure that the turntable of your record
player turns at 78 revolutions per minute. That is the
speed at which the records were made and at which they
were supposed to be played. Don't blame the records or the
musicians if your turntable is too fast.

SQUARE DANCE ALBUMS WITH CALLS
WESTERN STYLE

Lloyd Shaw calling Cowboy Dances,

Decca Album A 524 M.M. 134-140

Music by Duel in the Sun Square Dance Orchestra
Decca Recording Co., New York 4 twelve-inch records

Note. This album was especially made by the author to accompany
this book. Its scheme is to give as many different calls as possible
(two on the first face, six on the second, and ten on the third), to
gether with a variety of "trimmings" presented in the form of "hash."
The beginner is supposed to study each call separately (page refer
ences to this book are given below) and then to practice with the
five practice sides, which are given without calls. After mastering
each call separately, repeating it over and over to himself, he can
then try testing himself by dancing the whole combination as given
on the first two records.

1A. Star to the Right, page 167

Right Hand Back, pajre 160

IB. Split Ring Hash, containing

Split t^e Rijj^ awl Alemamde, page/ %$$
pvide the^ Rin# and Swing Corners, pa^e
givide ike Rin$ and Corners Bow,

( See ttfe

PHONOGRAPH RECORDS 397

2A. Docey-doe Hoedown, containing

Lady Round the Lady and the Gent Solo, page 170

Two Gents Swing: with the Elbow Swing, page 172

I'll Swing Your Girl; You Swing Mine, page 176

Swing at the Wall, page 178

Him and Her, page 182

The Girl I Left Behind Me, page 184

The Lady Round Two, page 195

Dive for the Oyster, page 197

Little Brown Jug, page 199

Four Gents Cross Right Hands, page 364

PRACTICE SIDES WITHOUT CALLS
2B. Pigtown Hoedown ; Lamplighter
* 3. Nellie Bly; Four and Twenty

White Cockade; Four White Horses
4. Honest John; Chichester

I Wonder; Romping Mollie

Roy Rogers calling Co^vboy Square Dances,

Decca Album 226 M.M. 160

Music by Cooley's Buckle Busters
Decca Records, Inc., New York 3 ten-Inch records

Note. Very good, but very fast and slightly irregular in form,
sometimes using five couples in a square.

1. Round the Couple and Swing When You Meet

Chase that Rabbit Chase that Squirrel

2. Bird in a Cage and Three Rail Pen

Round That Coupl,e Go Through and Swing

3. Boy Around a Boy Girl Around a Girl

Lady Round the Lady and the Gent Solo

Carl Myles calling Square Dances,

Imperial Album FD 15 M.M. 140-144

Music by The California Haylofters
Imperial Record Co. 137 North Western Avenue

Los Angeles, California 4 ten-inch records

1. Lady Half Way Round

The Rout

2. Lady Rorad the Lady

& Ifrd in
Sally

4* If i$&xmri Htecbwn

Split tfoe King and Elbow Swing

398 PHONOGRAPH RECORDS

Bud Udick calling Bar Nothin' Squares,

Special Album M.M. 136-144

Music by Cactus Tart's Orchestra
Pikes Peak Records, 465 First National Bank Building

Colorado Springs, Colorado 5 ten-inch records

1. Take a Little Peek; I'll Swing Your Girl You Swing Mine;

Elbow Swing ; Dive for the Oyster

Inside Arch Outside Under; Three Ladies Chain; Swing the
Right Hand Gent with the Right Hand Round

2. Promenade the Inside Ring; Four Ladies Chain

Two Ladies Chain Through the Line; Split the Ring Com
bination

3. Shoot That Pretty Girl; Swing That Girl Behind You; Swing

at the Wall; Half Sashay Your Partner Round
Swing at the Head and the Foot ; Promenade the Inside Ring

4. My Pretty Girl (Singing call)

Swing the Opposite Girl with the Right Hand Round; Meet
in the Center and Swing Right There

5. La Varsouvianna (Round Dance)

Cotton Eyed Joe; Good Night Waltz (Round Dances)
Note. The album above was recorded at one of the regular weekly
dances at the Broadmoor Hotel in Colorado Springs. The audience
noises can be heard behind the calls.

Jonesy calling Square Dances ,

Black and White Album 65 M.M. 130-146

Music by Cactus Andy and his Texas Dandies
Black and White Records,

Hollywood, California 3 ten-inch records

1. Sally Goodin

Cage the Bird

2. Oh Susanna, Part I (Singing call)

Texas Star, Part II

3. Oh Susanna, Part II

Texas Star, Part I

4. Smash the Window (without call)

Tennessee Waggoner (without call)

Bill Mooney calling Crest Album of Squares

Music by his Cactus Twisters
(Write Bill Mooney, 530 JB. Alosta,

Glendora, California) 2 twelve-inch records.

1, Head Tw^ Gent& Cross Over

$1*410 <ty tbe 'Gage

2. AJta*azi4 l<$t an$ AQqviwMe Ttefr ' ,

Arwirf ISat Gowk and TaJm A T JfcfcU

PHONOGRAPH RECORDS 399

Jim Lackey calling Square Dances,

Hamilton Album M.M. 120-136

Music by Besse Ledf ord and the Merrie Strings
Hamilton Records, 10754 Prospect Avenue,

Chicago, Illinois 4 twelve-inch records

1. Ladies to Center and Back to Bar

Old Arkansas

2. Forward Six, Fall Back Six

Indian Style

3. Dip and Dive

Four Leaf Clover and You Swing Mine

4. Head Two Gents Cross Over (Singing call)

Spanish Cavaliero (Singing call)

Carl Journell calling, Folkraft Album F 5 M.M. 126-130

Music by Grady Hester and his Texans
Folkraft Records, 7 Oliver Street

N-ewark 2, New Jersey 4 ten-inch records

1. Bird in the Cage

Sashay Partners Halfway Round

2. Sally Goodin

The Wagon Wheel

3. Texas Star

Four in Line You Travel

4. Around the Couple and Swing at the Wall

Sashay By and Resashay

Bob Hager calling,

Linden Album (3246) M.M. 118-124

Mu&ie by Hilda Smythe's Orchestra
Linden Record Corporation, 2417 Second Avenue

Seattle, Washington 5 ten-inch records

1. Down the Center and Divide the Ring"

Little Yaller Gal

2. Gents Walk Around the Outside

Right and Left with the Couple You Meet

a.

Separate Around the Outside Track (Singing sail)

Hallway Rpund

J|tsit
ia Beet (Cotttra Dance)

400 PHONOGRAPH RECORDS

Les Gotcher Calling,

MacGregor Albums No. 1 and No. 2 M.M. 118-138

MacGregor Records, 729 South Western Avenue
Los Angeles, California

Album No. 1 4 twelve-inch records

1. Texas Star

I'll Swing Your Girl You Swing Mine

2. Take a Peek

Right Hand Over, Left Hand Under

3. Inside Arch, Outside Under

Lady Round the Lady

4. Swing Or Adam, Swing OP Eve

Hot Time in the OF Town (Singing call)

Album No. 2 4 ten-inch records

1. Cage the Bird

Heel and Toe Polka (Round Dance)

2. Sally Gooden

Schottische (Round Dance)

3. Rye Waltz (Round Dance)

Dive for the Oyster

4. Varsovienna (Round Dance)

Swing in the Center, Swing on the Sides

ALBUMS WITHOUT CALLS

The albums with calls are usually used in the homes and
with small groups who do not have a caller But far more
groups, and larger groups who do have a caller but who are
not able to secure "live music" for their dances, must have
recourse to recorded music. Fortunately, many albums of
square dance music have appeared recently. Speed will be
one of the factors determining your choice, and this is given
m M.M. markings for each volume, which practically means
"steps per minute." So pick your own speed.

Signature Album BUI. 144-150

Music by Riley Shepard, with Shorty Lotag- and his Santa
Fe Rafegers

Signature Becord Company g ten-incji records

1. .Turkr w tie Straw

PHONOGRAPH RECORDS 401

2. Devil's Dream

Shepard's Schottische (Round Dance)

3. Ta-ra-ra Boom De-ay

Boil Them Cabbage Down

Lloyd Shaw calling Cowboy Dances,

Decca Album A 524 M.M. 134-140

Music by Duel in the Sun Square Dance Orchestra
Decca Recording Co., New York 5 faces of twelve-inch

records (without calls) ;
also 3 faces with calls
2B. Pigtown Hoedown; Lamplighter

3. Nellie Bly ; Four and Twenty

White Cockade ; Four White Horses

4. Honest John ; Chichester

I Wonder; Romping Mollie

Harley Luse Square Dances,

Imperial Album FD 8 . M.M. 130-138

Music by Harley Luse and his Blue Ridge Mountain Boys
Imperial Record Co., 137 North Western Avenue

Los Angeles, California 4 ten-inch records

1. Turkey in the Straw

Varsouvianna (Round Dance)

2. Tennessee Square

Chicken Reel

3. Soldier's Joy

Buffalo Gals

4. Mississippi Sawyer

Arkansas Traveler

Bill Mooneyes Imperial Album FD 24 M.M. 120-140

Music by Bill Mooney and his Cactus Twisters

Imperial Record Co., 137 North Western Avenue

Los Angeles, California 4 ten-inch records

1. Red River Valley

Hot Time in the Old Town Tonight

2. My Pretty Girl

The Old Fine Tree

3. Glory, Glory, Hallelujah

Buttons and Bows (M.M. 106)

4. O

*y*' jShigjfclg Quadrilles which have been very popular
in tfe$ W@s& *ft6ttr played at a Western tempo,

402 PHONOGRAPH RECORDS

Southern Mountain Square Dance Music,

Folkraft Album M.M. 124-136

Music by Folkraft Mountain Boys
Folkraft Records, 7 Oliver Street,

Newark 2, New Jersey 4 ten-inch records

1. Marching Through Georgia

Devil's Dream

2. Honolulu Baby

Git Along Cindy (Round Dance)

3. Oh Susannah

Flop-eared Mule

4. Buffalo Gals

Old Joe Clark

Texas Square Dances, Folkraft Album M.M. 126-134

Music by Grady Hester and his Orchestra
Folkraft Record Co., 7 Oliver Street

Newark 2, New Jersey 4 ten-inch records

1. Give the Fiddler a Dram

Eighth of January

2. Hop Light, Ladies

Waggoner's Reel

3. Irish Washerwoman

Ida Red

4. Bill Cheatham

Arkansas Traveler

Paul Hunt's Square Dance, Disc Album 631 M.M. 126-134
Music by Paul Hunt and his Rock Candy Mountaineers

Disc Record Co., 117 West Forty-sixth Street
New York 3 ten-inch records

1. Rakes of Mallow
Rig a Jig Jig

2, Golden Slippers

kittl Brown Jug

3. Soldier's Joy

Lamplighter's Hornpipe

Country Fotir Square Dance,

Folkraft Album jjjj. 122-1M

Musie by Folkraft Cotwtry
r, leader

PHONOGRAPH RECORDS 403

Folkraft Record Co., 7 Oliver Street

Newark 2, New Jersey 4 ten-inch records

1. Ten Little Indians

Life On the Ocean Wave

2. White Cockade and Village Hornpipe

Little Old Log Cabin in the Lane

3. Angleworm Wiggle

Wabash Cannonball

4. My Darling Nellie Gray

Pop Goes the Weasel

Texas Square Dances,

Imperial Albums 16 to 20 M.M. 118-130

Music by Jimmy Clossin's Blue Bonnet Playboys
Imperial Record Co., 137 North Western Avenue

Los Angeles, California Five albums, each with

2 twelve-inch records
Album FD 16

1, The Girl I Left Behind Me

Oxford Minuet (Round Dance)

2. Eighth of January

Little Brown Jug

Album FD 17

1. Buffalo Gals

Varsouvienne (Round Dance)

2. Ragtime Annie

Tucker's Waltz (Mixer)

Album FD 18

1. Arkansas Traveler

Texas Cowboy Schottische (Round Dance)

2. Soldier's Joy

Hona Sweet Home (Round Dance)

Album FD 19

1, Leather Breeches

Virginia Reel (Contra Dance)

2. Golden Slippers

Waltz Quadrille (with Singing call)

Album FD 20

1. Waggoney

OottoiblJyed Joe (Round Dance)
& CMefer* K^l

Ovtr the Wayes (Round Dance)

404 PHONOGRAPH RECORDS

Cliffie Stone's Square Dances,

Capitol Album BD 44 M.M. 118-128

Music by Cliffie Stone and his Square Dance Band
Capitol Records, Hollywood, California 4 ten-inch records

1. Special Instruction

Soldier's Joy

2. Sally Goodin

Cripple Creek

3. The Gal I Left Behind Me

Bake Them Hoecakes Brown

4. Ragtime Annie

Golden Slippers.

Texas Square Dances, Henlee Album M.M. 126

Music by Henry Hudson and his Band
Henlee Record Co., 2402 Harris Boulevard

Austin, Texas 2 twelve-inch records

1. Soldier's Joy

Chicken 'n Dumplin's

2. Durang's Hornpipe

Uncle Joe; Turkey in the Straw.

Homesteader Series, Folkraft Album M.M. 120-126

Music by Foster's Old Time Fiddlers
Folkraft Records, 7 Oliver Street

Newark 2, New Jersey 4 twelve-inch records

1. Down in the Tall Grass

Mississippi Sawyer

2. Lost Indian

Billy in the Lowlands

3. Steamboat Bill

Chicken Reel

4. Barn Dance

Speed the Plow

Harley Luse's Sqwre Dances ,

Imperial Album MJC 11W24

Music by Harley Luse and his Blue Ridge Mountain Boys
Imperial Record Co., 137 North Western Avenue

s, California 4 t^Snd* records

PHONOGRAPH RECORDS 405

2. Hiawatha

Silver Bell

3. Darling Nellie Gray

Spanish Cavalier

4. She'll Be Comin' Round the Mountain

At a Georgia Camp Meeting

SINGLE RECORDS

Recreational Project of the Methodist Church

M.M. 126-136
Michael Herman's Folk Orchestra

Recorded and Manufactured by RCA Victor

(Write Michael Herman, Box 201, Flushing, Long Island,

N.Y.)
M 103 Irish Washerwoman

Captain Jinks
M 104 Red River Valley and Cicilian Circle

Camptown Races and Pop Goes the Weasel

ALBUMS OF SINGING CALLS

Several years ago the only square dance albums avail
able were made in the East and were mostly of singing calls.
More set in their pattern, slower, and usually simpler, they
did not illustrate at all well the dances described in this
book.

They are altogether delightful in themselves, but since
they are in a quite different technique from the Western
p&tter call described in Cowboy Dunces, we are not recom
mending these albums as being quite so suitable.

In some of the records the calls are spoken instead of
being sung. But they have the rhythm, the technique, and
the tempo of the singing call, and they are not at all typical
of Western patter calling. They are just as fine but in a
different category.

Caution. When you hear "do-si-do'* in a singing call, it
does not mean the "docey doe" described in this book. It is
not the Western (or Southern) figure performed by four
dancers* It umiis only doe-a-dos or -'back to back/' where

406 PHONOGRAPH RECORDS

two people simply pass around each other back to back.
And may I suggest that in your Western calling you always
pronounce this back to back "dos-ah-doe" (as the old simon-
pure dancing masters always did) in order to help the
dancers distinguish between these two very different figures.

Al Brundage calling Country Fair Square Dances,
Folkraft Album F 1 M.M. 124-134

Music by Folkraft Country Dance Orchestra,

Pete Seeger, leader
Folk Record Co., 7 Oliver Street

Newark 2, New Jersey 3 ten-inch records

(Or write to Al Brundage, P.O. Box 176, Stepney, Connecti

cut)

1. Indian File

Two Head Gents Cross Over

2. Keep a-Steppin'

Little Old Log Cabin

3. Forward Six and Back

Danbury Fair Quadrille

Tiny Clark calling Square Dances,

Pilotone Album No. 131 , M.M. 120-134

Music by Village Barn Gang
Pilot Radio Corporation, Long Island City,

New York 4 ten-inch records

1. Darling Nellie Gray

Devil's Dream (without call)

2. The Girl I Left Behind Me

Turkey in the Straw (Virginia Reel)

3. Little Brown Jug

Hinky Dinky Paries Vous

4. Ain't Gonna Rain No More

Oh, Them Golden Slippers

Tiny Clark calling Square Dances,

Asch Album A 344 M jj. 122452

Musis 'fcqr Hr and Hra Seller

Asch R*$fa$ o.| :Nw : Tfta* ' r g ten%$i words

tl*

PHONOGRAPH RECORDS 407

2. Darling Nellie Gray

Big Eared Mule; Cricket and Bullfrog; Light-Foot Bill
(without call)

3. Little Brown Jug

Virginia Reel; Grand March; Finale (without call)

Ed Durlacher calling Country Dances,

Sonora Album 479 M.M. 116-132

Music by The Top Hands
Sonora Radio and Television Corp.,

Chicago, Illinois 4 ten-inch records

1. Nelly Ely

Virginia Reel (Contra Dance)

2. Uptown Downtown

Sanita Hill (Circle Dance)

3. Red River Valley

Loobie Lou Skip to My Lou (Play Party)

4. You Did It So Well, So Do It Again

Back to Back

Ed Durlacher calling Square Dances,

Decca Album 474 (old, 229) M.M. 120-130

Music by Al McLeod's Country Dance Band
Decca Record Co., New York 3 twelve-inch records

1. She'll Be Comin' Round the Mountain

Billy Boy

2. The Grapevine Twist

Dip and Dive

3. Mademoiselle from Armentieres

Cowboy's Dream (Waltz)

Floyd Woodhull calling Square Dances,

Victor Albrtte C-36 M.M. 120-130

Mu$i<j by Woodhuirs Oide Tyme Masters
RCA Victor, Caraden, New Jersey 4 l twelve^inch records

t Oh
Fop

n J%d$ ,

to" -of %& Own

* ; very

'

408 PHONOGRAPH RECORDS

Lawrence V. Loy calling Square Dance,

Victor Album P 155 M.M. 124-128

Music by Carson Robison and his Pleasant Valley Boys
RCA Victor, Camden, New Jersey 4 ten-inch records

1. Spanish Cavaliero

Irish Washerwoman (without call)

2. Solomon Levi

Comin' Round the Mountain

3. Jingle Bells

Paddy Dear

4. Golden Slippers

Turkey in the Straw

Lawrence V. Loy calling Square Dances,

M-G-M Album 5 M.M. 122-128

Music by Carson Robison and his Square Dance Music
M-G-M Co. (a division of Loews, Inc.) ,

New York 4 ten-inch records

1. A Hook and a Whirl

Head Couples Separate

2. Lady Round the Lady

The Devil's Britches (without call)

3. Bob's favorite

The Maverick

4. When the Work's AH Done This Fall

Pokeberry Promenade

Paul Conklin calling Siving Your Partner,

Victor Album C-34 M.M. 118-126

Music by Bill Dickinson's Tuxedo Colonels
RCA Victor, Camden, New Jersey 3 twelve-inch records

and 1 ten-inch record

1. Hodge Quadrille No. 1

Hodge Quadrille No. 2

2. Buffalo Gals

Chasse Your Partner

3. Darling Nellie Gray

pBefe; the Oyster

4. Lafy Bound the L**Jy

|4f & O^ tfee Qoean Wave

straight

PHONOGRAPH RECORDS 409

Manny calling Margo Mayo's Square Dance,

Keynote Album K-130 M.M. 92-126

Music by the American Square Dance Orchestra
Keynote Recordings, Inc., New York 3 ten-inch records

1. Chicken Reel

Double Chassez

2. Silent Couple

Preakness Quadrille

3. Medley (without calls)

New Portland Fancy
Note. A cross between prompting and patter calling.

Phil Green calling Square Dances,

Franwil Album 1-A M.M. 110-124

Music by Phil Green's Band
Franwil Records 3 ten-inch records

(Write to Phil Green, 323 Central Street, Springfield,
Massachusetts)

1. Spanish Cavalier

Roll Along Covered Wagon

2. Listen to the Mockingbird

McNamara's Band

3. Sioux City Sue

Captain Jenks

Note. Phil Green has announced the following records under the
Square Dance label, to be released in the early summer of 1949,

1. My Little Girl

Mariana

2. The Waltz Promenade

Home Sweet Home

3. Casey Jones

Clancy Lowered the Boom

Burold Groodf ellow calling Square Dances,

B^Iidwagxm Album M.M. 132-138

Music t>y The Pore OF Tired Texans

Bandwagon Record Co. 3 twelve-inch records

(Write to Harold Goodfellow, 205 114th Road, St. Albans,
NT.)
3U Hopkin's Turn

Loch Lomond
2. Deep in the Heart of Texas

FofW&rd Up Six and Ba<?k
t. Jolty Iri^ntap

Hot Tie in tfee 0W f own Tonight

410 PHONOGRAPH RECORDS

Ralph Page calling New England Square Dances,

Disc Album No. 630 M.M. 114-120

Music by his New England Orchestra
Disc Record Co., New York 3 ten-inch records

1. Red River Valley

Disgusted Brides

2. Odd Couple in the Center

Monadnock Muddle

3. Star the Ring

Ladies Whirligig

Ed Durlacher calling Honor Your Partner,

Square Dance Associates Albums M.M. 114-120

Music by The Top Hands

Square Dance Associates, 102 North Columbus Avenue,
Freeport, Long Island, N.Y. Three albums, each of

3 twelve-inch records
Album I

1. Susanna

Two Head Gents Cross Over

2. Heads and Sides

Around the Outside

3. Honolulu Baby

Do-si-do and Swing

Album II

1. Yankee Doodle

Push Her Away

2. Sweet Alice

Darling Nellie Gray

3. Duck for the Oyster

Ladies Chain

Album III

1. Loch Lomond

The Basket

2. Ladies Grand Chain

My Little Girl (M.M. 124)

fyotb Hsnd L&<Jy Pass Under

Note. SitaiBtotfcaffy t The first half of e&cji rew$ &$ is gtveu over
to spoke* tafeftcitionfft H* second featf to ,tfe* d&fyfi^, VWth xattrt be

' ' * ' '

PHONOGRAPH RECORDS 411

Lawrence V. Loy calling Square Dances,

Columbia Album C-47 M.M. 106-112

Music by Carson Robison and his Old Timers
Columbia Records, Inc., New York 4 ten-inch records

1. The First Two Ladies Cross Over

Darling Nellie Gray

2. Buffalo Boy Go Round the Outside

Oh Susanna

3. Dive for the Oyster

Dive for the Oyster (continued)

4. Little Brown Jug (without call)

Possum in the 'Simmon Tree (without call)

RELATED DANCE ALBUMS

There are related dance forms that are sometimes ,in-
cluded in the term "square dance/' but they have not been
treated in this book: the formal quadrilles, the running
sets, the longways or contra dances, and the play-party
games. If you wish to refer to record albums of these old
quadrilles, you cannot do better than write to Henry Ford,
Dearborn, Michigan, and ask for the list of records ; or you
may write to Scott Colburn, Department B, 408 South
Fourth Avenue, Ann Arbor, Michigan.

For the other forms you cannot do better than refer to
the fine set of Decca albums put out by Margo Mayo and her
American Square Dance Group. They are as follows :
Quadrilles, Decca Album 617
Running Set, Decca Album 274
Long Ways Dance, Decca Album 275
Pl&y Party Games, Pecca Album 2.78

ROUND DANCES

For a eQiripietf 1% o| \tt>tox$p Of the many different

ROTO* ^aii^set'f^i'llAl 1 &w*\&$k by Uoy# ^haw,

published by, f W Fff&ters, ltd, of Caldwell, Idaho,

For the f ew J$tewl Rowd Daises fiven in Chapter 4

K8QOP& -Ubte albums listed
'i6te^

412 PHONOGRAPH RECORDS

TWO-STEP:

Any square dance music in 2/4 time will prove quite
satisfactory. Some folks prefer the old ragtime tunes.
You will find some excellent ones on Imperial Records
by Harley Luse and his Blue Ridge Mountain Boys
such as "Rainbow," Imperial 1009, or "Silver Bell/' Im
perial 1010.

WALTZ :

The "Missouri Waltz" is still, perhaps, the old-time
favorite. You will find it and many others in Popular
American Waltzes, played by Al Goodman and his Or
chestra in the Columbia Album C-26.

If you prefer a faster tempo, try Victor Herbert
Waltzes, played by Harry Horlick and his Orchestra,
Decca Album 82.

RYE WALTZ :

Try Record No. 1044B in Imperial Album FD 9,
played by Harley Luse, or try the "Rye Waltz" in the
Les Gotcher album noted at the end of the Square
Dance list.

VARSOUVIANNA :

If you don't find anything to suit you in the albums
listed above, try "Hungarian Varsovienne," Henry
Ford record 103-A, or "Put Your Little Foot" by Louie
and his Old Time Band, Globe record 5002,

POLKAS :

Every library of square dance records contains
several polkas, but if you need another try the "Hot
Clarinet Polka/ 1 Standard record T 121, or, in slower
time, the "Heel and Toe Polka," Henry Ford record
107-A.

If you would like an album of nothing but polkas, try
"I<et'& Polka/' by Bill Gale and his Music Makers,
Collegia Album 0*56,

g^twre dtatt* alfepms throw i*x a $chotfcisc$ie

o fenixfc iif ; n stogie

PHONOGRAPH RECORDS 413

record, try "Starlight Schottische" by Louie Massey
and the Westerners, Columbia record No. 20117, or
"California Schottische" by Harley Luse and his Or
chestra, record No. 1046B from the Imperial Album
FD9.

If you want an album of nothing but schottisches,
try the Decca Album 220, which goes under that name.

HARD TO GET RECORDS

Local music stores sometimes do not carry these special
records, and they frequently seem to have a hard time
ordering them. If you should have trouble, it might.be well
for you to write to some company that makes a specialty of
these records. You may order directly from -them or ask
them to keep you posted on any special type of record you
need. For this service I would suggest

Bob Osgood

152 N. Swall Drive

Los Angeles 36, California

Ed Kremers

262 O'Farrel Street, Room 301

San Francisco 2, California

Michael Herman

P.O. Box 201

Flushing, Long Island, N.Y.

Charley Thomas
121 Delaware Street
Woodbury, New Jersey

r

J
V.

Index

Adam and Eve, 228

Adams, James Barton, 24

Alabam', Run Away to, 316

Allemande left, 47

AUemande six, 278

Alligator, 252

Anderson, Sherwood, 7

Arch and Under for the Length of the

Han, 343
Arch, Inside, 341
Arkansas Traveler, 390
Arkansaw, Old, 230
Around that couple with the lady in the

lead, 195
At a Cowboy Dance, 28

Back to the Bar. 310

Balance, 136

Ballonet, The Lady, 18&

Beginnings ca*, 148; discussion. 121

Birdie in a Cage and Allemande Six, 278

Birdie in the Center and Seven Hands

Round, 241 -

Bow and Kneel to That Lady, 234
Bow Knot, 3&8
Buffalo Gals, 382
Buffaloes and Injun*, 254
Butterfly Whtrt The, 13

Call Books, 26

" "

r sets out on floor, 104
i Jink%

.pfar awl 8l<les SwinjK, 812

of

eatftral

Chaine anglaise, 50
Chain, ladies, 127
Change and Swing Half, 215
Cheat and Swing, 232

Varjsouvianna,
, tft .
i dancers, 148

Dad Eads, 35

Dances types, 123

Devil's Dream, 390

Dive and Rescue the Lady, 361

Dive for the Oyster, 197

Divide, Sides, 314

Divide the Ring and Corners Bow, 294

Divide the Ring and Cut Away Four, 286

Divide the Ring and Docey Partners, 292

Divide the Ring and Forward Up Six, 298

Divide the Ring and Swing Corners, 290

Divide the Ring and Waltz Corners, 300

Rivide the Ring combination, 2*6

Divide-the-Ring type, see Split-the-Ring

Docey-doe discussion, 104; calls, 160

Docey-doe type, 131

Docey Out As She Comes In, 238

Docey partners, 292

Dollar Whirl The, 191

Don't You Touch Her. 244

Dos-a-dos, 105

Do-si-dov 104

Double Bow Knot, 858

Double Elbow, 157

Durang, 887

Eads, Dad, 85

Eight, Figure, 267

Eight, Forward and Back, 856

Eight Hands Over, 200

Elbow, Double, 157

Elbow Swing, 172

Endings caHa, 151; discussion, 121

English chain, 50

English Dancing Master, Playfoxd, 30*

Exhibition dancing, 142

fiddle**, 36

Fiddle tunea, 35

figure Eight, 267

Finish phrases, 160

First Dance, 38

Flap Those Girls and Flap Like Thunder,

200

Follow up second couple, 185
Ford, Henry, 2&
Form a Star, 167
Form a Star with the Right Hand Cross,

62

Forward and Back Eight, 366
Forward Six and Fall Back Eight, 261
Forward Six and Fap Bade Stic, <T6
Forward S^ Divide ths Rfci*. 2S
Forward W Six, 2&8
Four amd twenty, 8S5
Four Gents Cross Right Hands, 864

416

INDEX

Four Gents Lead Out, 308
Four in a Center Line, 264
Four Leaf Clover, 280
Four White Horses, 391

Gal, Yaller, 252

Gent So Low, 117

Geometric sense, 41

Girl I Left Behind Me, The, 184, 382

Go Halfway Round Again, 246

Golden Slippers, 383

Good Morning:, 28

Go Round and Through, 180

Grand March Change, 336

Grand Right and Left, 47

Grapevine Twist, 271

Grapevine Twist, Garden Variety, 276

Head of the hall, 57
Heel and Toe Polka, 92
Hens and Chickens, 386
Hey, 50

Him and Her, 182
Honest John, 378
Honor That Lady, 236
Howard, Emerson G., 34
Hull's Victory, 33, 388

IT! Swing Your Girl; You Swing Mine,

176

Indian Circle, 282
Injuns and Buffaloes, 254
Inside Arch, 341
Instruments, 36
Intermingling type, 139
Introductions calls, 148; discussion*, 121
Irish Washerwoman, 378
Irregular types, 141
I Wonder, 880

Johnny's Down the River, 381

Kelleher, Mary, 87
Kentucky Running Set, 29
Kingdom Come, 384
Kneel to that lady, 234

Ladies chain, 127

Ladies Change, Three, 346

Ladies to the Center, 310

Lady Rallonet, 189

Lady -Go Halfway Round Again, 246

Lady Round the Lady, 170

Lady Round the Lady and the Gent So

Low. The. 117
Lady Round Two, The. 195
Lady Walks Round, The, 189
Lamp Lighter, 389
Length of the HaU, Inside Arch, 843
Length of the Hajl, Right and Left, 351
Length of the Hall, Three Ladies Change,

Levin, Ida, 29
Little children, 143

March, Gra^d, 836
Minson, "Smokey," 85
Music, 33

Nellie Bly, 384

Opposite across the hall, 121
Original dances, 142
Origins of dances, 26
Over and Under, 341
Oyster, Dive for the, 197

Page, Tolman and, 31

Parker, Guy, 11

Pigtown Hoe Down, 388

Playford's English Dancing Master, 30

Pokey Nine, 321

Polka, 90

Pop Goes the Weasel, 123, 393

Positions in Squares, 57

Promenade in single file, 122

Promenade the Inside Ring, 208

Promenade the Outside Ring, 138

Promenade the Outside Ring and Docey

Doe, 206

Promenade Your Corners Round, 249
Pursuit Waltz, 97

Quadrille, New England, 27
Quadrille, The Singing, 324
Quadrille, Waltz, 303

Rattlesnake Twist, 274

Redowa, 94

Reel, Virginia, 124

Rescue the Lady, 361

Right and Left, 211

Right and Left Back and Both Couples

Swing, 222

Right and Left Four and Six, 217
Right and Left Four and the Center

Couple Swing, 220
Right and left grand, 47
Right and left through, 127
Right and Left Through and Swing That

Girl Behind You, 224
Right and Left Through the JLength of

the Hall, 351
Right and Left with the Couple You

Meet, 208

Romping Molly, 381
Round and Through, 180
Round dances, 70
Run Away to Alabam', 316
Running Set, 29
Rye Waltz, 71, 894

Schottische, 73, 398

Second couple follow up, 136

Sharp, Cecil, 29

Sides Divide, 214

Singing QuadriHe, The, 824

Single file, 122

Single Visitor type* 188

Six Forward, Eight FaH Back, 261

Six Forward, Fall Back Six, 258

"Smokey" Mfetfon, 5

Soldier's Joy, 88

So-So Polka, 394

Spanish Waltz, Wl

INDEX

417

Swing at the Wall, 178

Swing the Right Hand Gent with the

Right Hand Round, 241
Swing your opposite across the hall, 121
Swing Your Opposite All Alone, 213
Symmetrical type, 138

Take Her Right Along, 250

Three Ladies Change, 346

Three Ladies Change the Length of the

Hall, 349
Tip, 58

Tolman and Page, 81
Tunes, fiddle, 35
Turkey in the Straw, 389
Twtet, Grapevine, 271
Twist, Grapevine, Garden Variety, 276
Twist, Rattlesnake, 274
Two Gents Swing with the Elbow Swing,

172

Two-Step, 46
Two-Step, Circle, 42
Types of dances, 123
Types of Western square dances, 131

Varsouvianna, 78
Virginia Reel, 124

Wagonner, 387

Wall, Swing at the, 178

Walsenburg Polka, 93

Waltz, 94

Waltz Corners, 300

Waltzing in a square, 96

Waltz, modern, 102

Waltz, pursuit, 97

Waltz Quadrille, 303

Waltz, Spanish, 101

Waltz That Girl Behind You, 331

Waltz, turning within a square, 99

Wave, The Ocean, 318

Weasel, Cowboy, 123

Weasel, Pop Goes the, 123

White Cockade, 391

Whoa Ho Dobbin, 385

YaHer Gal, 252

You Swing My Girl; 1*11 Swing Yours,
176

" ^ ' ^ ^ 111! V | I P

110472